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The article revisits the concept of entropy in art as discussed by Gestalt psychologist and art theorist Rudolf Arnheim. His discussion of artworks and their reception as complex dynamic fields where the forces of entropy and orderliness counter and complete each other, are brought into dialogue with newer approaches, from the perspective of complexity theory and neuroscience, to the dynamics of perception and to entropic processes in the brain. I will argue that even though Arnheim’s observations can still be valuable for contemporary art criticism they need to be updated as they tend to overstate the tendency for order as well as the visual aspects of reception in the expense of multimodal and embodied aspects. In light of these observations, I will discuss contemporary cases of ‘entropic’ art through the moving image works of Marco Brambilla, their aesthetics as well as the ‘structural themes’ arising and the Gestalt processes involved in their reception.

The term media art is responsible for encompassing poetics interested in the adventure between media and technological supports – in an artistic conception based on the formal convergence between expressions. Therefore, this article, dialoguing with the theoretical production arising from the universes of communication and literary theory, critically reflects the translation operated by Ivan Cardoso in the short film Hi-Fi (1999) of the aesthetic information contained in the poetics of Augusto de Campos, hybridizing poetry, music, visual arts, etc. in cinematographic language, in an opening dynamic, as conceptualized by Eco (1988). We will also discuss the post-utopian panorama (CAMPOS, 1997) of contemporary artistic production, an index of modernity., El término artemídia es responsable por la definición de las poéticas interesadas en el tránsito entre medios y suportes tecnológicos – en la concepción de dialogo formal entre las expresiones artísticas e hibridación. A partir de eso, este artículo presenta una reflexión sobre el movimiento de traducción que ha hecho el director de cine Ivan Cardoso con relación a la información estética de la producción poética de Augusto de Campos en el cortometraje Hi-Fi (1999). Además de eso, nuestra mirada del análisis propone un pensamiento críptico centrado en las cuestiones contemporáneas en relación con los conceptos de obra abierta (ECO, 1988) y post utopía (CAMPOS, 1997)., O termo artemídia é responsável por englobar as poéticas interessadas na aventura entre meios e suportes tecnológicos – numa concepção artística pautada na convergência formal entre as expressões. Assim sendo, este artigo, dialogando com a produção teórica advinda dos universos da comunicação e da teoria literária, reflete criticamente a tradução operada por Ivan Cardoso no curta-metragem Hi-Fi (1999) da informação estética contida na poética de Augusto de Campos, hibridizando poesia, música, artes visuais etc. em linguagem cinematográfica, numa dinâmica de abertura, como conceitualizou Eco (1988). Discorreremos, ainda, acerca do panorama pós-utópico (CAMPOS, 1997) da produção artística contemporânea, índice da modernidade.

A chapter on Agnieszka Kurant's artistic work in relation to critical posthumanities, especially Rosi Braidotti's theoretical concept of zoepolitics.

The article substantiates the problem of synthesis of media art in the modern synthesis of arts in architecture, provides a definition of the term " Media Art" as a higher form of artistic development. Attention is paid to the analysis of recent research and publications devoted to the study of the artistic component of interactive design in the synthesis of the arts of architectural space, the influence of media technologies on the formation of the architectural image of art centers, describing trends in media technology in architecture. The purpose of the article is to consider the forms of media art, their role in the synthesis of arts in architecture. The article emphasizes the objects created and embodied in Ukraine, describes the synthesis of arts from the angle of influence of media art on human perception and outlines the prospects for development. The history of the synthesis of arts in architecture from ancient times, the development of the synthesis of arts in the Art Nouveau style, the preconditions for the emergence of media art are briefly described. The synthesis of media art and architecture, interaction with other arts, namely painting, sculpture, music and others is considered on the example of the multimedia center Atelier des Lumières – "Workshop of the World" in Paris, which specializes in digital art exhibitions; Ukraine WOW exhibition in Kyiv, which is equipped with various forms of media art; media facades in Kyiv; media cube on the facade of Chicago Central House, which is the first media sculpture in Europe. The definition of "media facades" is also given and the influence of media technologies on the emotional and psychological state of a person is considered. Examples of interaction of various forms of media art with architecture are given. The conclusions determine the role of media art in architecture, the impact of media technology on human psychology, outline the prospects for the development of media art in the modern synthesis of arts in architecture., У статті обгрунтовується проблема синтезу медіамистецтва в сучасному синтезі мистецтв в архітектурі, надається визначення терміну «медіамистецтво», як вищої форми художнього розвитку. Приділяється увага аналізу останніх досліджень і публікацій, присвячених вивченню художної складової інтерактивного дизайну в синтезі мистецтв архітектурного простору, впливу медіатехнологій на формування архітектурного образу арт-центрів, опису тенденцій використання медіа технологій в архітектурі. Мета статті полягає у розгляданні форм медіамистецтва, їх ролі у синтезі мистецтв в архітектури. В статті зроблено акцент на об'єкти, створені та втілені в Україні, описано синтез мистецтв під кутом впливу медіамистецтва на сприйняття людини та окреслено перспективи розвитку. Стисло описуються історія синтезу мистецтв в архітектурі з давніх часів, розвиток синтезу мистецтв у стилі модерн, передумови виникнення медіамистецтва. Розглядається синтез медіамистецтва та архітектури, взаємодія з іншими видами мистецтв, саме живопису, скульптури, музики та інших на прикладі мультимедійного центру Atelier des Lumières – «Майстерня Світу» в м. Парижі, який спеціалізується на проведенні цифрових художніх виставок; виставки «Ukraine WOW» в м. Києві, в обладнанні якої застосовуються різні форми медіамистецтва; медіафасадів у м. Києві; медіакубу на фасаді Chicago Central House, який є першою медіа-скульптурою в Європі. Також надається визначення «медіафасадів» та розглядається вплив медіатехнологій на емоційний та психологічний стан людини. Наведені приклади взаємодії різних форм медіамистецтва з архітектурою. У висновках визначається роль медіамистецтва в архітектурі, вплив медіатехнологій на психологію людини, окреслюються перспективи розвитку медіамистецтва в сучасному синтезі мистецтв в архітектурі.

Le panoptique, en tant que modèle savant et artistique, a-t-il définitivement perdu son actualité et sa pertinence ? S’agit-il désormais d’un simple raccourci, utilisé pour désigner l’étude et la représentation de relations pouvoir-savoir qui ont largement dépassé les réalités et les théorisations qu’il représentait, y compris l’analyse qu’en faisait Michel Foucault ? Cet article se propose de porter un regard neuf sur l’héritage de Surveiller et Punir. La naissance de la prison de Michel Foucault à travers l’analyse d’œuvres documentaires, artistiques ou commerciales ayant pour thème le système carcéral américain. Dans les images qui nous sont présentées, le constat d’échec du modèle « idéal » évoqué par Foucault en référence au régime panoptique et la dénonciation de la mise en place d’un système de pur contrôle débouchent sur un questionnement des formes d’engagement du spectateur à l’heure des images opérationnelles. Has the Panopticon, as a scholarly and artistic model, definitively lost its topicality and pertinence? Has it become a mere shorthand, used to designate the study and representation of power-knowledge relations that have moved well beyond both the realities and theorizations it once stood for, including Michel Foucault’s analysis of it? This article proposes to take a fresh look at the legacy of Michel Foucault’s Discipline and Punish: The Birth of the Prison, focusing on documentary works that take the American prison system as their topic. In the video installations and televisual production concerned, the acknowledgement of the failure of the “ideal” model evoked by Foucault with reference to the Panopticon and the establishment of a perverted system of pure control lead to an interrogation of contemporary forms of spectatorial engagement.

The article presents artistic projects in which the issue of gender is actualized. The above was carried out from the position of post-humanist ideas through the study of the impact of the development of technologies on modern socio-cultural processes. Thus, the projects created in different genres were analyzed, including post-cinema (“Night Walk for Edinburgh”, “A Total Jizzfest”) aimed at changing gender perceptions in society, Ellen Pearlman’s opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera” (AIBO), in which, thanks to the involvement of artificial intelligence as an actor, gender opposition is reinforced. The Female Laptop Orchestra (FLO) project is dedicated to the support of female creativity, which, thanks to the involvement of information and communication tools, combines music creation with research in its activity. An important aspect of the considered projects is defined as interactivity, which is implemented by involving the viewer in the process of their creation. It was found that, on the one hand, the digital virtual space made it possible to reduce the importance of social roles or gender affiliation, thereby leveling the stereotype of the opposition between the author’s masculinity and femininity. On the other hand, with the development of machine learning technologies, a new opposition between the human author and the artificial intelligence in the same capacity is gradually emerging., У статті досліджено мистецькі проєкти, в яких актуалізовано питання гендеру. Означене здійснено з позиції постгуманістичних уявлень через вивчення впливу розвитку технологій на сучасні соціокультурні процеси. Так, проаналізовано проєкти, створені в різних жанрових площинах, зокрема посткіно («Night Walk for Edinburgh», «A Total Jizzfest»), спрямовані на зміни гендерних уявлень у суспільстві, опера Еллен Перлман «Emotionally intelligent» Artificially Intelligent Brainwave Opera» (AIBO), в якій заявдяки залученню штучного інтелекту в ролі дійової особи підсилюється гендерна опозиція. Підтримці жіночої творчості присвячено проєкт Female Laptop Orchestra (FLO), який завдяки залученню інформаційно-комунікаційних засобів поєднує в своїй діяльності створення музики з дослідженням. Важливим аспектом розглянутих проєктів визначено інтерактивність, що реалізована шляхом залучення глядача у процес їх творення. Виявлено, що, з одного боку, цифровий віртуальний простір дозволив зменшити значення соціальних ролей або гендерної приналежності, тим самим нівелювавши стереотип щодо опозиції між маскулінністю та фемінністю автора. З іншого боку, з розвитком технологій машинного навчання поступово оприявнюється нове протиставлення між людиною-автором та штучним інтелектом у тій самій якості.

In this article, we describe the Digital Media-Art project IN[The Hate Booth], an engaged installation game based on interactive fiction, developed to provide aesthetic enjoyment and, at the same time, a reflective experience around the theme of hate speech present in online video games and gaming communities. info:eu-repo/semantics/publishedVersion

教員研究論文, Faculty Papers

Research aimis to determine the content of motion design as a popular direction of design activity in Ukraine, its role and prospects in the context of modern Ukrainian graphic trends in general, and media art in particular.Research methods.The research methodology is determined by the topic, based on the complex use of methods of generalization, deduction, comparison, forecasting, analogy, as well as chronological and analytical methods.Scientific novelty.This article demonstrates a new look at some concepts within the scope of the study, which are firmly rooted in modern artistic everyday life and thereby caused the need for an objective assessment relevant to current realities. In particular, the offer to expand the classification of motion design products is important: instead of dividing projects into two types (art objects and commercial objects), the allocation of a third group – information objects – is justified. Such classification makes it possible not only to more accurately specify the genres of numerous works of motion graphics but also to formulate the corresponding algorithms for their design, taking into account a new understanding of the content. Furthermore, during the research, it was proved that Ukrainian motion design is currently at a decisive stage, when, on the one hand, it is possible to state the prospect of rapid advancement of this art form thanks to favorable socio-cultural circumstances, and on the other hand, an undeniable problem on this path, which has become as a result of domestic education lagging behind the active dynamics of digital demand. Therefore, it is obvious that the coming decade can direct the vector of development of motion design in our country to a higher level, provided the necessary transformations of the educational system and, of course, economic stabilization after military actions on the Ukrainian territory.Conclusions.Motion design is a specific and effective method of working with graphic content of different quality, which involves the results synthesis of numerous types of other design activities, such as animation, 3D modeling, video design, illustration, etc. In this regard, a motion designer must be a versatile specialist and possess a significant amount of theoretical and practical knowledge, and skills. Unfortunately, in the field of the Ukrainian motion industry, it is currently possible to state a shortage of masters of a similar level. However, the active popularization of this profession and all related aspects deserves praise, which, without a doubt, gives hope for the rapid advancement of motion design. Moreover, for a long period (more than 30 years), we have been observing the powerful dynamics of this art form in the context of media art in our country – growth from elements of production cinema and television to a separate, full-fledged field of digital marketing.

Research aim is to determine the content of motion design as a popular direction of design activity in Ukraine, its role and prospects in the context of modern Ukrainian graphic trends in general, and media art in particular. Research methods. The research methodology is determined by the topic, based on the complex use of methods of generalization, deduction, comparison, forecasting, analogy, as well as chronological and analytical methods. Scientific novelty. This article demonstrates a new look at some concepts within the scope of the study, which are firmly rooted in modern artistic everyday life and thereby caused the need for an objective assessment relevant to current realities. In particular, the offer to expand the classification of motion design products is important: instead of dividing projects into two types (art objects and commercial objects), the allocation of a third group – information objects – is justified. Such classification makes it possible not only to more accurately specify the genres of numerous works of motion graphics but also to formulate the corresponding algorithms for their design, taking into account a new understanding of the content. Furthermore, during the research, it was proved that Ukrainian motion design is currently at a decisive stage, when, on the one hand, it is possible to state the prospect of rapid advancement of this art form thanks to favorable socio-cultural circumstances, and on the other hand, an undeniable problem on this path, which has become as a result of domestic education lagging behind the active dynamics of digital demand. Therefore, it is obvious that the coming decade can direct the vector of development of motion design in our country to a higher level, provided the necessary transformations of the educational system and, of course, economic stabilization after military actions on the Ukrainian territory. Conclusions. Motion design is a specific and effective method of working with graphic content of different quality, which involves the results synthesis of numerous types of other design activities, such as animation, 3D modeling, video design, illustration, etc. In this regard, a motion designer must be a versatile specialist and possess a significant amount of theoretical and practical knowledge, and skills. Unfortunately, in the field of the Ukrainian motion industry, it is currently possible to state a shortage of masters of a similar level. However, the active popularization of this profession and all related aspects deserves praise, which, without a doubt, gives hope for the rapid advancement of motion design. Moreover, for a long period (more than 30 years), we have been observing the powerful dynamics of this art form in the context of media art in our country – growth from elements of production cinema and television to a separate, full-fledged field of digital marketing., Мета дослідження полягає у визначенні змісту моушн-дизайну як популярного напрямку дизайн-діяльності в Україні, його ролі та перспектив у контексті сучасних українських графічних тенденцій в цілому та медіа-арту зокрема. Методи дослідження. Методологія побудови дослідження зумовлена темою, ґрунтується на комплексному використанні методів узагальнення, дедукції, порівняння, прогнозування, аналогії, а також хронологічного та аналітичного методів. Наукова новизна. Дана стаття демонструє новий погляд на деякі поняття у межах дослідження, що надійно вкорінилися у сучасному мистецькому повсякденні і тим самим спричинили необхідність здійснення об’єктивної оцінки, актуальної для теперішніх реалій. Зокрема, важливою є пропозиція щодо розширення класифікації продукції моушн-дизайну: замість розподілу проєктів за двома типами (на арт-об’єкти та комерційні об’єкти) обґрунтовано виділення третьої групи – інформаційних об’єктів. Така класифікація дає можливість не лише більш точно конкретизувати жанри численних творів моушн-графіки, а й сформулювати відповідні алгоритми їхнього проєктування з урахуванням нового розуміння змісту. Також у ході дослідження було доведено, що український моушн-дизайн наразі перебуває на визначальному етапі, коли, з одного боку, можна констатувати перспективу стрімкого просування вперед цього виду мистецтва завдяки сприятливим соціокультурним обставинам, а з іншого – беззаперечну проблему на цьому шляху, яка стала результатом відставання вітчизняної освіти від активної динаміки діджитал-попиту. Тому очевидно, що найближче десятиліття може скерувати вектор розвитку моушн-дизайну у нашій країні на вищий рівень за умови необхідних трансформацій освітньої системи і, звичайно ж, стабілізації економіки після воєнних дій на території України. Висновки. Моушн- дизайн – це специфічний та ефективний прийом роботи з графічним контентом різної якості, який передбачає синтез результатів численних видів іншої дизайн-діяльності, як-от анімації, 3D-моделювання, відеодизайну, ілюстрації тощо. У зв’язку з цим моушн- дизайнер має бути універсальним фахівцем і володіти значним обсягом теоретико-практичних знань та навичок. На жаль, у галузі української моушн-індустрії наразі можна констатувати дефіцит майстрів подібного рівня. Проте заслуговує схвальної оцінки активна популяризація даної професії і всіх супутніх аспектів, що, без сумніву, дає надію на швидке просування моушн-дизайну. Тим більше, що протягом тривалого періоду (понад 30 років) ми спостерігаємо у нашій країні потужну динаміку цього виду мистецтва у контексті медіа-арту – зростання від елементів продакшну кіно і телебачення до окремої, повноцінної галузі діджитал- маркетингу.

Tomando como ejemplo el denominado Media Art y a través de la experiencia del proyecto Archivo Español de Media Art/Spanish Archive of Media Art (aema/saoma), este artículo tiene como objetivo reflexionar acerca de la realidad digital, la producción artística contemporánea y sus posibilidades de archivo y memoria en y para la tarea historiográfica del arte contemporáneo. En la primera parte de este artículo definiremos y precisaremos el objeto Media Art y sus artefactos. En la segunda parte presentaremos y describiremos el proyecto aema, nacido de la experiencia previa del mideciant, con intención de acercarnos a las características conceptuales y técnicas que debe cumplir un archivo de estas propuestas artísticas. En la tercera parte esbozaremos algunas de las interconexiones entre los conceptos de memoria y archivo en relación con el arte de los nuevos medios y plantearemos las dificultades inherentes a las tareas de definir y archivar el Media Art. Por último presentaremos algunas reflexiones y mencionaremos las que nos parecen ser las necesidades más acuciantes (restauración digital, documentación y relato) en los proyectos de archivo de arte digital. Taking as an example the so-called Media Art and departing from the experience of the project “Archivo Español de Media art / Spanish Archive of Media art (aema / saoma)”, this article aims to consider digital reality, contemporary artistic production, and its possibilities of archive and memory in order to approach the historiographical task of contemporary art. First section of this article is devoted to defining Media Art and its artifacts. Second section presents and describes the aema project, born from the previous experience of mideciant, with the intention of approaching the conceptual and technical characteristics that an archive of these artistic proposals must fulfill. In the third section, some of the interconnections between the concepts of memory and archive in relation to new Media Art will be outlined, to raise some of the difficulties inherent to the task of definition, memory and archiving of Media Art. Finally, last section compiles some reflections and analysis on the most pressing needs (digital restoration, documentation and story) that we believe are necessary for digital art archive projects. A partir do exemplo do denominado Media Art e com a experiência do projecto Archivo Español de Media Art/Sanish Archive of Media Art (AEMA/SAOMA), este artigo tem como objetivo refletir sobre a realidade digital, a produção artística contemporânea e suas possibilidades de arquivo e memória em e para a tarefa historiográfica da arte contemporânea. Na primeira parte do texto definiremos e precisaremos o objeto Media Art e seus artefactos. Na segunda parte apresentaremos e descreveremos o projeto AEMA, que surge da experiência previa do MIDECIANT, com a intenção de apertar-nos às características conceptuais e técnicas que deve cumprir um arquivo para este tipo de propostas artísticas. Na terceira parte, falaremos de algumas interconexões entre os conceitos de memória e arquivo na relação com a arte dos novos meios e, mesmo, das dificuldades inerentes às tarefas de definir e arquivar o Media Art. Ao último, apresentaremos algumas reflexões e mencionaremos aquelas que nos parecem as mais necessárias (restauração digital, documentação e relato) nos projetos de arquivação da arte digital.

Andrzej Pitrus discusses complex relationships between the two worlds – art and computer/ games. Numerous artists are looking for inspirations in the world of an interactive entertainment, yet some of them are creating new paths of its development. Some of the artists focus on new and unique interfaces. Others refer to the mechanics of games to create their own interactive works. Bill Viola’s The Night Journey is an excellent example of such project. The author also reviews critical games, which are based on the mechanisms easily found in commercial games. Yet, their goal is to deconstruct them, rather than followig well known tracks. Pitrus examines this strategy in the works of a famous studio “Tale of Tales”.

At the end of the 20th century performance art, as a rule, avoids pigeonholing itself as a separate form of the creative process, particular scientific orientation, or a definitive kind of art; it is an art of subliminal hints that everyone can perceive at their own discretion. Performance art involves mandatory involvement of the public and active communicative function. In an attempt to draw the attention of the public to the problem in performance art irony, epatage, exaggeration, metaphor, and association highlights of socialphenomena that provoke the viewer indirectly or directly to some action or reflection on certain social issues, connecting the moment of interactivity are widely used. In addition, public art, which includes performance art, focuses on the unprepared spectator and involves communication with the city’s space and its inhabitants. Democracy in performance art is manifested through the choice of a topic that can relate to any aspect of life. All performances art in the early 21st century are united by external orientation, having an onlooker in mind, but any individual performance art is aimed at the idea of awakening the mind of the viewer., Незвичайне явище, помічене в другій половині XX ст. Дж. Остіном, Р. Шехнером, В. Тернером і назване тепер перформансом у різних наукових спрямуваннях, можна порівняти з пульсуючим протуберанцем, сонячним зайчиком чи водою. Адже щоразу, «спійманий», він залишає по собі абсолют но новітню форму, новий вид у мистецтві чи жанрове утворення. Кудись зникаючи, розчиняючись і стабілізуючись у культурі, з’являється згодом зовсім в іншому місці в інший час у непередбачуваний спосіб (це і є його головна особливість), знову в невизначеній іпостасі. Навіть запозичена з англійської його назва залишає поле для роздумів: це вже не вистава, але й не показ/демонстрація, не продуктивність/ефективність, але рушійна сила. Так, він проявляється в інклюзії в культурі й креативності людей з синдромом Дауна, у витівках О. Ляшка та інших політиків, сучасних новоутвореннях спортивного та віртуального характеру тощо. Уможлививши нове, перформанс водночас не є чимось новим у культурі, але важливо, що саме в цьому явищі синтезуються новітні технології з традиційним мистецтвом та й із самим життям. Завдяки відсутності будь-якої лінії розмежування з щоденною креативністю, самодіяльною творчістю й утвореною а́кторами особливою реальністю, перформанс спроможний викликати потужні емоційні стани й відчуття взаємозв’язку людей у суспільстві. Таке явище потребує ретельного вивчення, оскільки може поставати у вигляді зручної форми для маніпуляції, насилля й недбалого ставлення до людської гідності, здоров’я чи життя. Ця форма творчості не підпорядкована жодному прогнозу, контролю та є складною для впізнаваності навіть фахівцям. Розчиняючись у нових медіа та долаючи межі окремих дисциплін, така форма творчості залишається малозрозумілою, кожен може інтерпретувати її у свій спосіб. Проте саме широкий потенціал цього інтердисциплінарного та інтермедіального культурного явища дає змогу віднайти приховані закономірності та складники проявів його існування в сучасному світі.

The article is devoted to the problems of art in the third space, that understood as a special reality created by IT. Both the new organization of the artistic communication of the author – the work – the public, and the new expressive and technical possibilities of the art itself are considered. The purpose of the overview is to establish a correlation between the understanding of cyber reality and the new conditions of existence of the artistic artifact, to identify the features of virtual communication about art. The postcolonial third space theory of H. K. Bhabha is considered, which is the basis for the study of “zones of communication” and the virtual construction of the dialogue between individuals/cultures. Special attention is paid to the analysis of the practices of third space American theorist and art practice Randall Packer. An important aspect is the use of multimedia art itself in the practice of its site “The Third Space Network”, the reality of which depends significantly on information network technologies. Cyber reality ensures the relevance of modern art in the network, the main features of which are erasing the lines between expressive means of different types of art, active communication of artists – the public, the absence of a fourth wall, etc., Стаття присвячена проблемам мистецтва у третьому просторі, який розуміється як особлива реальність, створена за допомогою ІТ. Розглядаються як питання нової організації навколомистецької комунікації автор – твір – публіка, так і нових виразних і технічних можливостей самого мистецтва. Мета розгляду – встановлення кореляції між розумінням кіберреальності і новими умовами побутування художнього артефакту, встановл ення особливостей віртуальної комунікації з приводу мистецтва. Особливу увагу приділено аналізу практик третього простору американського теоретика і практика мистецтва Рендолла Пакера.

This dissertation challenges settler-colonial ways of knowing, which attempt to decontextualize, instrumentalize, and isolate beings into taxonomies. It offers as an alternative, a multi-valent approach to understanding plains bison, beings that were strategically extirpated in a genocidal campaign waged by American and Canadian governments against Indigenous peoples. Weaving together discursive writing, storytelling, intermedia artworks, and community-based relational practice, Wilson has produced an unconventional dissertation that conveys the multi-epistemic approach required to understand settlers’ past, present, and decolonized future with bison. These varied approaches are employed to address Wilson’s key research question: How does the patriarchal legacy of settler colonialism affect interspecies relations, and how might we envision new ways of doing and being? She addresses this question in three sections. Part 1 narratively discusses works from Wilson’s thesis exhibition Remnants, Outlaws, and Wallows: Practices for Understanding Bison at the McIntosh Gallery (2021) and her contribution to the GardenShip and State exhibition at Museum London (2021-2022). This section explores the works in these exhibitions through their vital materiality and the methodology of their creation. Part 2 combines audio and written storytelling to layer narratives, theory, and criticism into illustrative vignettes. These vignettes take a creative and critical approach to archival records to trace the forced migration of specific bison, whose descendants populate almost all the plains bison herds in the North American conservation system. Extensive footnotes accompany the main narrative text; within these sub-texts, Wilson explores the theories and concepts enacted in the narratives. Part 3 of this dissertation documents Wilson’s thesis exhibition, its coverage in local media, and her contributions to the GardenShip and State exhibition as part of the larger body of her thesis work. Part 4 documents how she relationally developed and delivered this dissertation’s findings to communities beyond the academy. This dissertation and the connected artworks reflect Wilson’s process of confronting and attempting to unlearn the reductive and isolating taxonomical perspectives that arise from colonialism’s continuing legacy. They suggest ways of knowing through relationships and manifest what happens when we critically reconsider received facts with care, attention, and time. While bison are the centre of this text, Wilson’s multi-valent methodology enacts an enmeshed way of knowing these more-than-human beings and our world.

現地調査報告

UNFOLD: Mediation by Reinterpretation is a research project and interdisciplinary network initiated by LIMA, Platform for Media Art in Amsterdam, that examines reinterpretation as an emerging practice for artistic production, presentation, and preservation of media works. New elements stretch the boundaries of traditional preservation methods and require insights from both the artist and the curator to decide how pieces can be restaged. This essay investigates how to deal with the changes of digital/media artworks over time, and how to preserve and mediate their performative aspects. Gaby Wijers, ‘UNFOLD: The Strategic Importance of Reinterpretation for Media Art Mediation and Conservation’, in Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Cultural Inquiry, 21 (Berlin: ICI Berlin Press, 2022), pp. 193-203

The article examines media artworks, which are created using artificial intelligence technologies and computers in unusual digital forms, as an intermediary between the viewer and spatial art and allow rethinking the theoretical achievements of artistic design. The purpose of the article is to systematize information about the patterns of development of media art, the definition of forms of media art, its principles and methods in the study of media art as one of the directions of development of artistic design of the architectural environment. Materials and methods. Literary and information sources, comparative analysis, structural and logical modeling, systematization of research results, methods of experimental design. The article analyzes modern forms of media art: installations, cinema, video, animation, internet art, web art, software as art; virtual reality, musical environment. Five principles of media art have been established - these are the principles of interactivity, intellectual play, random access, coding of visual information and collaboration. Digital ways of creating a visual image of a work are considered. Their harmonious combination helps to develop a dynamic emotional architectural environment in accordance with the request of the audience. A comparative analysis of the principles and methods of media art and artistic design of the architectural environment revealed their significant relationship, and the same processes and phenomena are interpreted from different positions, as a result of which they acquire a new meaning and significant differences. This allows us to consider media art as one of the most promising ways for the development of artistic design., У статті розглядаються форми медіа-арту, що дозволяють переосмислити теоретичні досягнення художнього проектування. Метою статті є систематизація інформації про закономірності розвитку медіа-арту, визначення його принципів і методів в межах дослідження медіа-арту як одного з напрямів розвитку художнього проектування. В результаті дослідження пропонується виокремлення п’яти принципів і ряду цифрових методів медіа-арту на трьох ієрархічних рівнях системи середовища. Виділені принципи спираються на характерні тенденції і процеси формування середовища. Порівняльний аналіз принципів медіа-арту та художнього проектування архітектурного середовища виявив значну їх спорідненість, при чому однакові процеси та явища тлумачяться з різних позицій, внаслідок чого набувають нового сенсу. Це дозволяє розглядати медіа-арт як один із перспективних шляхів розвитку художнього проектування.

Submitted by Anna Barbara Alves Beraldine (annabarbara@unisinos.br) on 2022-05-06T16:42:52Z No. of bitstreams: 1 Bibiana de Paula_.pdf: 4345662 bytes, checksum: 412f83f4cb2aa8a809ca6b04ce9feb68 (MD5) Made available in DSpace on 2022-05-06T16:42:52Z (GMT). No. of bitstreams: 1 Bibiana de Paula_.pdf: 4345662 bytes, checksum: 412f83f4cb2aa8a809ca6b04ce9feb68 (MD5) Previous issue date: 2022-04-01 CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior Nesta dissertação, investigo técnicas de gambiarra realizadas em trabalhos de artemídias. Para tanto, exploro a ideia de artista parasita, observando procedimentos criativos de artistas que fazem uso de técnicas experimentais em dispositivos obsoletos para criação de obras sonoras. Primeiramente, parto do campo da biologia para definir o que vem a ser um parasita, conforme indicado por Ramos e Azevedo (2010), para então avançar sobre a relação de parasitose como um conjunto de interferências comunicacionais, segundo o pensamento de Michel Serres (1982). Situo esta pesquisa no âmbito da arqueologia das mídias, amparada principalmente por Parikka (2015; 2017). Como orientação metodológica, proponho uma abordagem cartográfica, conforme descrito por Canevacci (1997) e Molder (2010); também desenvolvo o procedimento de cartoescavação, que se refere à intervenção metodológica sobre os objetos empíricos. Esta cartoescavação aponta para questões a serem observadas em um laboratório de hacking, um espaço de experimentação conceitual e aplicada onde “escavo” dispositivos tecnológicos/artísticos/comunicacionais. Neste laboratório, a cartoescavação permite a abertura das caixas pretas, bem como o acesso a uma camada mais aprofundada de análise intitulada escuta geológica, que é conceituada a partir de Parikka (2015) e Ernst (2019). Como objetos empíricos analisados, apresento a banda indonésia Senyawa, que constrói seus próprios instrumentos sonoros; uma cartoescavação realizada em laboratório de hacking, intitulada Theremin Gambiarrístico; uma análise do instrumento sonoro Theremidi; e outra cartoescavação intitulada Objeto sonoro não-identificado (O.S.N.I). A partir destas análises foi possível observar o laboratório gambiarrístico do parasita, conhecer como ele desenvolve estratégias próprias para criação de suas obras sonoras, bem como observar de que formas este ambiente de estudos gambiarrísticos foi capaz de criar acessos para outras formas conhecimento sobre as materialidades e tecnologias trabalhadas. In this thesis, I investigate gambiarra techniques performed in media art works. To do so, I explore the idea of the parasite-artist, observing creative procedures of artists that make use of experimental techniques applied to obsolete devices in order to create sound artworks. Firstly, I derive a definition of parasite from the field of biology, as indicated by Ramos and Azevedo (2010), and then describe the parasitic relationships as a set of communicational interferences, according to the thought of Michel Serres (1982). I situate this research in the scope of media archaeology, supported mainly by Parikka (2015; 2017). As a methodological orientation, I present a cartographic approach and the organization of constellations assembled with the observed research objects, as described by Canevacci (1997) and Molder (2010); I also develop the procedure of cartoexcavation, which refers to the methodological intervention on the empirical objects. This cartoexcavation points to further issues to be observed in a hacking laboratory, a space of conceptual and applied experimentation where I “excavate” technological/artistic/communicational devices. Grounded in Parikka (2015) and Ernst (2019) the cartoexcavation procedures conducted in this lab refer to the opening of black boxes, giving access to a deeper layer of analysis entitled geological listening. As for the empirical objects analyzed, I observe the Indonesian band Senyawa, which builds its own musical instruments; a cartoexcavation conducted in the hacking laboratory, entitled Theremin Gambiarrístico; an analysis of the musical instrument Theremidi; and another cartoexcavation entitled Unidentified Sonic Object (O.S.N.I).

Bu çalışma ile Türkiye’deki üniversitelerde(vakıf/devlet) lisans seviyesindeki çağdaş sanat eğitimi müfredatının yeni medya sanatını kapsayıcılığı araştırılmıştır. Bu amaçla yüksek öğretim kurumlarındaki; Sanat Tarihi, Resim, Grafik, Grafik Tasarımı, Görsel İletişim Tasarımı, Medya ve Görsel Sanatlar programlarının hali hazırdaki ders programları web üzerinden incelenmiştir. 1980’li yıllardan itibaren özellikle de internetin keşfiyle gelişen yeni medya sanatları ve eğitimi ülkemizde batılı anlamda (müfredat+media lab) sadece vakıf üniversitelerinde kendine ciddi bir yer edinmiş, devlet üniversitelerinde sadece fotoğraf, video sanatı şeklinde, geleneksel sanat müfredatı içerisinde son derece kısıtlı bir çerçevede ele alınmıştır. Devlet üniversitelerinde yeni medya sanatları sayılı seçmeli ders olarak müfredata girebilmiştir. Aim of this study is investigation of the inclusion of new media art in the contemporary art education in the undergraduate level studies at universities (foundation/state) in Turkey . For this purpose, in higher education institutions; The current curricula of Art History, Painting, Graphics, Graphic Design, Visual Communication Design, Media and Visual Arts programs have been reviewed on the web. New media arts and education, which has developed since the 1980s, especially with the discovery of the internet, has gained a serious place in the western sense (curriculum + media lab) only in foundation universities in our country, and in state universities only in the form of photography and video art, it is an extremely limited part of the traditional art curriculum covered in the framework. New media arts have been included in the curriculum as a limited number of elective courses in state universities. Publisher's Version

Diffraktionsereignisse handeln im Kern von einem affektiv durchtr��nkten Zustande-Kommen eines komplexen, performativen Relationsmoments. Aus einer neo-materialistischen Perspektive sp��rt Alisa Kronberger dieses Ph��nomen in der feministischen Gegenwartskunst auf. Sie fragt erstmalig dezidiert nach der Aktualit��t der historischen N��he zwischen Feminismus und Videokunst und bietet ��� an den Schnittstellen von Medien- und Kunstwissenschaft verortet ��� neue Einblicke in einen aktuellen Diskurs um einen Neuen Materialismus in der Medienkunst., + ID: 583544 + Serientitel: Edition Medienwissenschaft

The cyberfeminist art practice of Shu Lea Cheang evinces a particular relation of generative complicity with the art object—what Canadian cultural theorist Jeanne Randolph referred to as 'the amenable object' (1983). Randolph, who pioneered 'ficto-criticism'—a method of writing that intentionally blurs theory, poetics and narrative—wrote of the amenable object as an incomplete creation whose 'ambiguous elements' allow the viewer to make 'subjective interventions' in the work. Likewise, Cheang’s participatory installations and non-linear online narratives operate as amenable object-texts, requiring the user to not only navigate but contribute to them through acts of critical play and improvisation. Across Cheang’s oeuvre is also a nomadic politics of border-crossing that resonates as loudly with Donna Haraway’s cyborg as it does with the experimental feminist writing that became associated with fictocriticism. In this paper, I examine correlations between fictocritical approaches and formal tactics in Cheang’s studio practice to consider them as interrelated cyberfeminist strategies of resistance and dissent; ones that arose in counterpoint to the proliferation of deterministic, technocapitalist narratives. In particular, I look at how the fragmentation, partiality and double-voicing seen in many fictocritical texts were echoed in the user-experience of Cheang’s Brandon (1998), a sprawling network that posited the queer body as a collective series of actions. I conclude by looking at how these same techniques recall methods from Dadaism and Surrealism in the early 20th century and reflect on the recurrent role of indeterminacy in art and literature more generally to stem the entropy of binary paradigms.

The article explores American designer and artist Susan Kare’s digital interfacing archetypes, notably the fonts, icons, and interface elements she designed for the Apple computer Macintosh, which was launched in 1984 and was aimed at a generic user. Kare produced bitmap black and white graphics, following the principle of the desktop metaphor, including the trash can, a pair of scissors for the “cut” command, the dog-eared icon, the Command key symbol, the font Chicago, and the Happy Mac, an anthropomorphized smiling computer that welcomed users at system startup. The article aims to reposition Kare’s work within visual culture, reflecting upon the importance of digital interfacing and the desktop metaphor in what W.J.T. Mitchell has called the “pictorial turn.” References will also be made to Marshall McLuhan’s idea of “global village” and Jean Baudrillard’s postmodernist trope of “hyperreality,” as well as to bottom-up “personal” computer art practices of the 1980s and the rise of prosumer culture. While anticipating a methodology known today as “design system,” Kare’s work had a significant impact in triggering a process of digitalization of the physical world into media space, or else elaborating a scopic system that facilitates new ways of seeing and accessing whatever unfolds behind a computer screen.

[ES] Este trabajo de final de máster, muestra el desarrollo de un proyecto de investigación artístico teórico-práctico que aborda de manera introductoria y a nivel teórico-conceptual las repercusiones del desarrollo tecnológico en entornos naturales que afectan al mundo vegetal y su relación con lo humano y a nivel técnico-conceptual, las formas de comunicación entre lo biológico, lo mecánico y lo computacional desde una mirada artística y colaborativa estudiando tipos de conexión entre sistemas analógicos y digitales. Se ha planteado una estructura definida en tres partes: Revisión del desarrollo tecnológico en entornos naturales relacionados con las ciencias, la sociedad y el arte; observación de interacciones y colaboraciones interespecies en la era post-internet; y la ideación, diseño, análisis y desarrollo práctico final de la serie Prototipados de coexistencia a través de diferentes pruebas-ensayos y experimentaciones como investigación y resultado desde la práctica artística. Esta investigación se adscribe en las líneas Ecología y medios, Activismo e interfaces críticos buscando establecer paralelismos e intersecciones entre arte, ciencia, tecnología y naturaleza con el objetivo de elaborar diferentes tipos de interacciones poético-artísticas contemporáneas entre el entorno vegetal, en concreto plantas, y tecnología, con la intención de proponer metafóricamente un especulativo futuro interespecie máquina-objeto natural., [EN] This master's degree final project shows the development of a theoretical-practical artistic research project that addresses in an introductory way and at a theoretical-conceptual level, the repercussions of technological development in natural environments that affect the plant world and its relationship with the human and at a technical-conceptual level, the forms of communication between the biological, the mechanical and the computational from an artistic and collaborative viewpoint studying types of connection between analog and digital systems. A structure defined in three parts has been proposed: Review of technological development in natural environments related to science, society and art; observation of interactions and interspecies collaborations in the post-internet era; and the conception, design, analysis and final practical development of the serie Prototypes of coexistence through different tests-trials and experiments as research and results from artistic practice. This research is ascribed to the lines of Ecology and media, Activism and critical interfaces seeking to establish parallels and intersections between art, science, technology and nature to develop different types of contemporary poetic-artistic interactions between the plant environment, specifically plants, and technology, to metaphorically propose a speculative future interspecies machine-natural object.

As an innovative solution to the challenges of documenting, indexing and researching new media art, this proposal proposes the creation of the Video-Policy media library (from now on MeViPol) within the framework of the research group HUM-1062: Policies of the audio-visual image and its technological environment in artistic practice. This project focuses on two lines of research. On the one hand, curatorial strategies for archiving works developed in Media Art and Data Art. On the other hand, we consider that the artistic trends encompassed in these two blocks have characteristics of obsolescence due to the rapid advance of technology, so MeViPol proposes a virtual space in which both the programming code with which these works are developed and the records generated for their development, both technical and conceptual, is collected. Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech.

Throughout history, humans have told stories to one another. Although these stories have largely disappeared over the course of time, they have sometimes left material remains, for instance in the form of rock art. However, rock art might not be the only materialization of prehistoric storytelling practices. On the contrary, if made active again, other prehistoric artefacts might also bring past storytelling practices back to life. In this paper, we examine how storytelling might have taken place in Late Mesolithic Finland (c. 6800–5200 cal BC). As a case study, we investigate a zoomorphic wild reindeer (Rangifer tarandus) antler artefact from southern Finland, the so-called ‘Lepaa artefact’, with multidisciplinary methods arising from the traditions of experimental archaeology, 3D-technologies, and artistic research. As a result, we suggest that Mesolithic storytelling might have been entangled with ritual practices and accompanied by performances that resemble traditional shadow theatre.

The subject of this article is in-game photography, which exists as a part of our lifestyle for some time already, but struggles to become recognized as an independent form of art. Classic photography in its time managed to establish itself as a new type of art that is equal to painting and sculpture. As for in-game photography, the situation is much more complicated. If the goal of an ordinary photo is to capture the ordinary world, as something that can only be seen with a camera lens, then what is the purpose of an in-game photo if it can exist there only within the framework of some new, man-made world, inside a video game? Nowadays, there is only a small amount of research devoted to such a genre of art as in-game photography. I am trying to correct that problem by analyzing the in-game photography, its connection to its classical predecessor, and formulating the central idea of that genre. I also will try to build an approximate way of in-game photography development as a form of art in the future, using the scheme of how culture is developing and formed by human minds. I will compare it to already known forms of perceiving in-game photography as an art and provide some ways of how humanity will perceive media art in the nearest future by describing already known in-game photography studies, various genres of in-game photography, and art contests.

Der Katalog zur 11. Ausstellung der Galerie "hell" im Department Architektur widmet sich der Künstlerin Nieves de la Fuente. De la Fuente setzt sich mit zeitgenössischen digitalen Medien auseinander und formuliert ihre Arbeiten über multimediale Installationen bis hin zu reinen Augmented und Virtual Reality-Anwendungen. Nieves de la Fuentes Interesse gilt der Erforschung und Erprobung eigenständiger wie widerständiger Strategien der Navigation durch den digitalen Raum. Der Katalog führt fünf ausgesuchte, konzeptuell sehr unterschiedliche Arbeiten de la Fuentes zusammen. Sie geben Einblick in künstlerische Praktiken im kritischen Umgang mit unseren gegenwärtigen digitalen Umgebungen und ihren ideologischen Implikationen. Tobias Becker, Herausgeber des Katalogs, führt in die Arbeiten ein.

The concept of post-AI curating discussed in this working paper explores curation as a knowledge-creation process, supported by pattern recognition and weighted networks as technical tools of artificial ���intelligence���. The text discusses a number of concepts that build on each other, such as curating, curator, the curatorial, curatorial experimental research, post-human curating and post-AI curating. It then examines several projects as case studies that approach curation using artificial ���intelligence���: The Next Biennial Should Be Curated by a Machine from UBERMORGEN, Leonardo Impett and Joasia Krysa (2021) as a meta-artwork about curation and biennials; Tillmann Ohm���s project Artificial Curator (2020), which resulted in an automatically curated exhibition; and #Exstrange by Rebekah Modrak and Marialaura Ghidini et. al. (2017), which presents artworks as data objects on the eBay online platform. Finally the text shifts to summarising embeddedness, big data infrastructures, spatiality and information model, solutionism and digital humanities, selection and similarity as instances of post-AI curating., Training the Archive Working Paper Series, Paper 3

A instalação artística toma como ponto de partida o Bordado de Castelo Branco e a tecnologia têxtil envolvida, materializamos os motivos do desenho e desconstruímos o tecido como se o tecido que estava a ser bordado explodisse da tela, expandindo-se pelo espaço expositivo. O Bordado de Castelo Branco é tradicional da região da Beira Baixa, no interior de Portugal, e considera-se que seja fruto do encontro das culturas entre o Ocidente e o Oriente, com forte influência europeia. Os motivos do desenho deste Bordado resultam da convergência do desenho e das gravuras que se faziam na Europa nos séculos XVII e XVIII, na azulejaria portuguesa, nos têxteis indianos e na porcelana chinesa. The installation takes Castelo Branco Embroidery and the textile technology involved as a starting point, materializes the design motifs, and deconstructs the fabric as if the fabric that was being embroidered exploded., expanding through the exhibition space. The Embroidery of Castelo Branco is traditional from the Beira Baixa region, in the interior of Portugal, and is considered the result of the meeting of cultures between West and East, with a strong European influence. The motifs of this Embroidery design result from the convergence of the design and engravings made in Europe in the 17th and 18th centuries, in Portuguese tiles, in Indian textiles, and in Chinese porcelain. Agradecemos à Fundação para a Ciência e a Tecnologia através do Centro de Investigação em Artes e Comunicação, Polo da Universidade Aberta, o apoio na realização deste trabalho (financiamento plurianual UIDB/04019/2020) e ainda à Artech-International pela cedência de equipamentos. info:eu-repo/semantics/publishedVersion

The article aims to respond to the lack of studies on the relationships between contemporary visual arts and VR, focusing on the role of “storytelling” and identifying what distinguishes VR art projects from other contemporary VR uses, namely their criticism of the VR medium itself. VR has developed a new language in the last five years, based on specific visual grammar and allowing new narration forms. Visual artists have been attracted to VR in search of new modes of production and expose the negative impact of technology in our perception of reality, or else the new mediated ways of seeing and distanced interaction with the world around us. The first part is dedicated to the discussion of Canadian artist Jon Rafman’s View of Pariser Platz (2016) and American artist Jordan Wolfson’s Real Violence (2017), two of the first Oculus Rift-based art installations to develop a metalinguistic commentary on how VR, although promising immersion, produces, in fact, alienation, homogenization, brutalization and the loss of empathy. The article continues with a discussion on the recent rise of tech companies aimed at the production of contemporary artworks based on VR technology: Acute Art (London), Khora Contemporary (Copenhagen), and VIVE Arts (Taiwan). This is a new expanding field that is changing the ontology of artmaking and redefining the artist's role, mainly in light of the cooperation with technicians and programmers., Cinergie – Il Cinema e le altre Arti, No. 19 (2021)

Este artigo apresenta uma breve investigação acerca das reverberações da filosofia da imagem técnica de Vilém Flusser nas propostas sobre arte mídia realizadas por Arlindo Machado. A relação entre esses autores é sugerida pelo mapeamento das proximidades e distâncias entre seus operadores conceituais, modos de proceder e contribuições aos processos de criação e ao debate sobre esses temas e suas repercussões estéticas e políticas. Elas são pertinentes para a compreensão dos problemas que decorrem da produção e circulação, em larga escala, das imagens técnicas, assim como de que modo os artistas podem responder às questões suscitadas pela dialética entre arte e mídia. This article presents a brief investigation about the reverberations of the philosophy of the technical images developed by Vilém Flusser in the concepts about media art made by Arlindo Machado. The relationship between these authors is suggested by mapping the proximities and distances among their conceptual operators, ways of proceeding and contributions to the creative processes and the debate about these themes and their aesthetic and political repercussions. They are pertinent to the understanding of the problems that arise from the largescale production and circulation of technical images, as well as how artists can answer the questions raised by the dialectic between art and media.

The paper focuses on the technological inventions made by the artist Michele Sambin during his activity with the Tam Teatromusica theater group, founded in 1980 together with Pierangela Allegro and Laurent Dupont. Since 1970s Michele Sambin has been conducting a research across multiple artistic territories – painting, music, cinema, video, performance and theater –, recombining their codes in the idea of probing the possibilities of relationship and conflict between images and sounds. This peculiar interdisciplinary approach is combined with the constant interest in subverting and reinventing the technological tools available on the marketplace. While taking into account the historical-critical contexts and the linguistic and aesthetic changes that have marked the various decades of the Italian and international theatrical practices from the 1980s till today, the analysis attempts to restore the richness of the artist’s experiments, assuming as lines guides the technical and technological inventions that from time to time have forged the conceptual and aesthetic dimensions of Tam Teatromusica’s performances. However, reading the history of this group through the lens of the technological devices used, does not mean considering its artistic production as a deterministic response to technological innovation, it means shifting the emphasis on the interrelation between the technical and expressive possibilities of the tools, the discourses that orient their uses and practices that reinterpret their values, discarding their underlying ideologies.

In this article, we present Akson, a web-based audio-visual (AV) environment for networked interaction and performance. It is demonstrated as an emerging artefact of an investigation in computer music and media art from collaborative interfaces exploring the cloud. Akson allows both the generation of content in a customized network and the structuring of agents connected in different interaction models. There are detailed experiments carried out during the development process, their existence taking advantage of the Internet and the way in which the software works technically is detailed extensively. As an interface that extends the artistic gesture, it is presented as a result of research in the context of Braga Media Arts, a creative city of UNESCO (UCCN)., Journal of Science and Technology of the Arts, Vol 13 No 2 (2021): Critical Approaches Towards (A New) Arts Education

The objective of this study was to improve user experience when appreciating visual artworks with soundscape music chosen by a deep neural network based on weakly supervised learning. We also propose a multi-faceted approach to measuring ambiguous concepts, such as the subjective fitness, implicit senses, immersion, and availability. We showed improvements in appreciation experience, such as the metaphorical and psychological transferability, time distortion, and cognitive absorption, with in-depth experiments involving 70 participants. Our test results were similar to those of “Bunker de Lumières: van Gogh”, which is an immersive media artwork directed by Gianfranco lannuzzi, the fitness scores of our system and “Bunker de Lumières: van Gogh” were 3.68/5 and 3.81/5, respectively. Moreover, the concordance of implicit senses between artworks and classical music was measured to be 0.88%, and the time distortion and cognitive absorption improved during the immersion. Finally, the proposed method obtained a subjective satisfaction score of 3.53/5 in the evaluation of its usability. Our proposed method can also help spread soundscape-based media art by supporting traditional soundscape design. Furthermore, we hope that our proposed method will help people with visual impairments to appreciate artworks through its application to a multi-modal media art guide platform.

Cada vez más detalles de nuestra vida son registrados y almacenados para formar parte de lo que ha venido a llamarse big data. Nuestra vida, en todos sus aspectos, deja un rastro digital que se actualiza continuamente en función de actividades, tanto de la vida física como de la vida digital, que alimentan bases de datos en las que se refleja tanto el último libro que hemos comprado como las visitas médicas que hemos realizado. Muchos de esos datos son abiertos y accesibles, otros son propiedad de empresas privadas que comercializan con ellos. En esta publicación inicialmente introducimos y justificamos la conveniencia de utilizar el termino dataceno, entendido como una metáfora para comprender la sociedad actual como una sociedad mediada por los datos digitales. Posteriormente, realizamos una clasificación de las practicas artísticas contemporáneas con distintas aproximaciones al uso y análisis de datos complejos: desde la creación de atractivas visualizaciones bajo el propósito de acceder a la información escondida en los grandes volúmenes de datos, hasta aproximaciones más conceptuales que nos acercan a un planteamiento crítico sobre el volumen, recolección, uso y comercialización de los mismos. En la última parte de esta publicación, nos centramos en analizar las creaciones artísticas basadas en rastros digitales y en el concepto de biografía narrativa en la era del dataceno. Por último, analizamos nuestra obra Data Biography, una propuesta de diseño especulativo que cuestiona la escritura biográfica, utilizando los datos recogidos de nuestro rastro digital en redes sociales, WhatsApp, correos electrónicos, sitios web visitados, búsquedas en Google, imágenes, ubicación de gps, etc. More and more details of our lives are recorded and stored as part of what has been called big data. Our lives, in all their aspects, leave a digital trail that is continually updated in terms of activities. Our physical and digital lives are recorded in databases with the latest book we purchased and with our medical visits. Many of these data are open and accessible, others are owned by private companies that use them for marketing purposes. In this publication, we provide an initial introduction and justification of the usefulness of the term datacene understood as a metaphor to comprehend our current society mediated by digital data. Then we establish a classification of the contemporary artistic practices with different approaches to the use and analysis of complex data; from the creation of aestheticallypleasing visualizations of large volumes of data, to more conceptual approaches that critically analyze the volume, collection, use and marketing of data. In the last part of this publication we focus on artistic creations based on digital traces and the concept of narrative biography in the age of the datacene where we present our work Data Biography; a speculative design proposal that questions how we could write a current individual’s biography using the data captured from our digital trail on social networks, WhatsApp, emails, websites visited, Google searches, images, GPS location, and so forth. Cada cop es registren i s’emmagatzemen més detalls de la nostra vida per formar part d’allò que ha acabat anomenant-se big data. La nostra vida, en tots els seus aspectes, deixa un rastre que s’actualitza continuament en funció d’activitats, tant de la vida física com de la vida digital, que alimenten bases dades en les quals es reflecteix tant l’últim llibre que hem comprat com les visites mèdiques hem fet. Moltes d’aquestes dades són obertes i accessibles, d’altres són propietat d’empreses privades que hi comercialitzen. En aquesta publicació inicialment introduïm i justifiquem la conveniència de fer servir el terme datacè, entès com una metàfora per comprendre la societat actual com una societat mediada per les dades digitals. Posteriorment, fem una classificació de les pràctiques artístiques contemporànies, amb diverses aproximacions a l’ús i anàlisi de dades complexes: des de la creació de visualitzacions amb l’objectiu d’accedir a la informació amagada en els grans volums de dades, fins a aproximacions més concpetuals que ens apropen a un plantejament crític sobre el seu volum, recol·lecció, ús i comercialització. En l’última part de la publicació ens centrem a analitzar creacions artístiques basades en rastres digitals i en el concepte de biografia narrativa a l’era del datacè. Finalment, analitzem la nostra obra Data Biography, una proposta de disseny especulatiu que qüestiona l’escriptura biogràfica, fent servir les dades recollides del nostre rastre digital a xarxes socials, WhatsApp, correus electrònics, llocs web visitats, cerques de Google, imatges, ubicació de gps, etc.

Submitted by Laís Miguel Lacerda (lais.lacerda@unesp.br) on 2022-01-28T13:33:35Z No. of bitstreams: 1 TESE FINAL (FIGURAS OK SEM PAGINA DE BANCA)_final.pdf: 2911134 bytes, checksum: 0e383c178b90734409dcf426c9ae2c5e (MD5) Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2022-01-28T15:16:18Z (GMT) No. of bitstreams: 1 lacerda_lm_me_bauru.pdf: 2911134 bytes, checksum: 0e383c178b90734409dcf426c9ae2c5e (MD5) Made available in DSpace on 2022-01-28T15:16:18Z (GMT). No. of bitstreams: 1 lacerda_lm_me_bauru.pdf: 2911134 bytes, checksum: 0e383c178b90734409dcf426c9ae2c5e (MD5) Previous issue date: 2021-03-30 A presente investigação consiste em uma interpretação atualizada da iconografia e das linguagens experimentais em vídeo e videoperformance empregadas por artistas latino-americanas, que por meio de seus próprios corpos e o embate destes com a câmera, levantaram questionamentos e provocaram reflexões, além do impacto que causam na história da arte e na contemporaneidade. Tratase de uma história de escrita recente, cuja documentação mais sistemática teve início entre os anos 1960 e 1970 a partir das lutas de movimentos sociais em diálogo com a academia. Tem como premissa dar visibilidade a essas artistas latino-americanas e contribuir para o desenvolvimento do contexto teórico e crítico complexo que elas ressignificam. Assim, tendo como referenciais as questões de gênero e as teorias decoloniais, esse estudo, de natureza qualitativa, visa refletir sobre a linguagem do vídeo e os corpos dessas artistas latino-americanas. Optou-se por investigar o tema tendo como referência três artistas latino-americanas pioneiras: Gloria Camiruaga (1941- 2006), Marta Minujín (1943 -) e Lenora de Barros (1953 - ). Como resultado prático e aplicado, composto de uma ação poética e exercício artístico do tema, produziu-se uma série de duas videoperformances intitulada “Performances de apartamento - o percurso do território radical eu”, a partir das quais a autora desta pesquisa, teórico-prática, elaborou um conjunto de questionamentos acerca de seu corpo e moldes sociais estabelecidos, dentro de conflitos sentimentais, sobretudo no momento em que se encerra este trabalho, em plena pandemia do coronavírus. The present investigation consists of an updated interpretation of the iconography and the experimental languages in video and videoperformance employed by Latin American artists, who through their own bodies and their collision with the camera, raised questions and provoked reflections, in addition to the impact that cause in art history and contemporaneity. It is a recent writing history, whose more systematic documentation began between the 1960s and 1970s from the struggles of social movements in dialogue with the academy. Its premise is to give visibility to these Latin American artists and to contribute to the development of the complex theoretical and critical context that they resignify. Thus, taking gender issues and decolonial theories as references, this study, of a qualitative nature, aims to reflect on the language of the video and the bodies of these Latin American artists. We opted to investigate the theme using three pioneering Latin American artists as references: Gloria Camiruaga (1941-2006), Marta Minujín (1943-) and Lenora de Barros (1953-). As a practical and applied result, composed of a poetic action and artistic exercise of the theme, a series of two videoperformances was produced entitled “Apartment performances - the journey of the radical territory me”, from which the author of this research, theoreticalpractical, elaborated a set of questions about his body and established social molds, within sentimental conflicts, especially at the moment this work ends, in the middle of the coronavirus pandemic.

Bilder mögen in Netzwerken leben. Bilder mögen neben anderen Bildern existieren. Der Beitrag analysiert und problematisiert wie ein Bildnetzwerk entsteht. Als theoretischer Hintergrund fungiert eine Verbindung aus Netzwerk-Theorie (Barabási Albert-László) und Bildwissenschaft. Damit sollen zugleich die von Gilles Deleuze geprägten Begriffe wie Rhizom, Re-, Deterritorialisierung neu interpretiert werden., The pictures are living frequently in networks. Pictures like to stand near other pictures. In the following study, I analyse how the picture-network is realised, which are the connections between the network science (Barabási Albert- László) and the visual studies, how can be reinterpreted the Gilles Deleuze term, such as: re-, de-, territorialisation and Rhizom in this context and how the picture-hubs are formed.

Desde el Media Art hallamos una larga serie de expresiones culturales de carácter innovador en respuesta a las nuevas inquietudes e intereses surgidos en la era de la posverdad. En la presente investigación se hará especial hincapié en el importante papel del hacktivismo para incentivar la participación ciudadana en la lucha contra la desinformación y el abuso de poder institucional, económico o político-fáctico desde el ámbito más experimental de la cultura digital. Adoptaremos como objeto de estudio el corpus artístico de Paolo Cirio, por su interés al abordar el papel central de la información como medio y contenido creativo. En sus obras, la activación de originales mecanismos de visualización de datos e interacción con el usuario va dirigida no solo a denunciar injusticias y falsedades, sino también a estimular una intervención real sobre los propios hechos. A partir del análisis de algunas de sus principales contribuciones, se establecerá un marco teórico original para la identificación de aquellas aportaciones creativas que entran dentro de la que denominaremos «condición transreal». La relevancia de esta propuesta reside en el planteamiento de unas coordenadas para el estudio de aquellos proyectos transmedia de carácter interactivo, y en la mayoría de las ocasiones contestatario, capaces de brindar un nuevo modelo de relación con la audiencia y una atractiva estrategia de expansión del universo informativo desde el compromiso social mediante una acción directa sobre la realidad. Scores of innovative cultural expressions that address the new concerns and interests emerging in the “post-truth” era can be found in Media Art. In this research, special emphasis will be placed on the important role of hacktivism to encourage citizen participation in the fight against misinformation and the abuse of institutional, economic and political-factual power within the realm of experimentation in digital culture. The focus of this study will be Paolo Cirio’s oeuvre, based on his interest in addressing the central role of information as a medium as well as its status as creative content. In his works, the activation of data visualisation mechanisms and the interaction with the user is aimed not only at denouncing injustices and falsehoods, but also at stimulating real intervention on the facts themselves. Starting with an analysis of some of Cirio’s main productions, an original theoretical framework will be established to identify creative contributions that fall within what we may call the “transreal condition”. The key of this proposal resides in proposing coordinates for the study of transmedia projects of an interactive and often rebellious nature, projects capable of not only ushering in a new model of audience engagement but also expanding the information field beyond the social contract through direct action into reality. La presente investigación forma parte del proyecto «Digital Media Culture: Intercreativity and Public Engagement» del que la autora es investigadora principal en el Venice Centre for Digital and Public Humanities, Università Ca’ Foscari Venezia (Ministero dell’Università e della Ricerca, Progetto MIUR Dipartimenti di Eccellenza). Los resultados del trabajo también se integran en la línea de investigación «Arqueología de medios digitales: intermedialidad, narrativas transmedia y CGU» que la investigadora lidera dentro del grupo TECMERIN (Televisión-cine: memoria, representación e industria, UC3M)

Piazza virtuale by the group of artists known as Van Gogh TV was not only the biggest art project ever to appear on television, but from a contemporary point of view the project was also a forerunner of today's social media. The ground-breaking event that took place during the 100 days of documenta IX in 1992 was an early experiment with entirely user-created content. This is the first book-length study of this largely forgotten experiment: It documents the radicality of Piazza virtuale's approach, the novel programme ideas and the technical innovations. It also allows, via QR codes, direct access to videos from the show, which until now have been inaccessible.

Die ab Heft 1/2015 von Prof. Dr. Jens Schr��ter als Hauptherausgeber zusammen mit dem Graduiertenkolleg Locating Media (Universit��t Siegen) und Prof. Dr. Benjamin Beil (Universit��t zu K��ln) herausgegebene kultur- und medienwissenschaftliche Zeitschrift Navigationen widmet sich in ihrer aktuellen Ausgabe (2/2021) dem Thema Zuk��nftige Medien��sthetik. Eine zuk��nftige Medien��sthetik ist sowohl eine Medien��sthetik der Zukunft, als auch eine ��sthetik zuk��nftiger Medien. Medienkunst hat schon immer ungedachte und unversuchte M��glichkeiten verschiedenster Medien ausprobiert und damit einen imaginativen Vorschein zuk��nftiger Medien erzeugt. Medienkunst, eine der zentralen Kunstformen des 20. und 21. Jhds., sah es als eine ihrer Aufgaben an, neue Medien zu erfinden (Rosalind Krauss) ��� oft gerade im R��ckgriff auf obsolet wirkende Technologien und Verfahren. Medienkunst reflektiert also nicht blo�� ein zugrundeliegendes Medium, wie es von der (hoch-)modernistischen ��sthetik und problematisch genug, f��r alle Kunst behauptet wurde. Sie erfindet erst ein Medium. Medien sind dabei von Imaginationen umgeben, die ihrer Erfindung vorhergehen, ihre Durchsetzung begleitet und in ihrem Verschwinden nostalgisch nachklingen. Medienkunst kann deshalb als ein spezieller Fall solcher Imaginationen verstanden werden ��� eine Imagination, die nicht (nur) diskursiv, sondern materiell, demonstrativ und performativ aufgef��hrt wird. In dem geplanten Heft sind Beitr��ge versammelt, die die Praktiken der Erfindung zuk��nftiger Medien durch die Medienkunst untersuchen. Ein Schwerpunkt liegt dabei auf dem wichtigen medienk��nstlerischen Projekt Piazza virtuale von Van Gogh TV, welches auf der documenta IX 1992, genau am Vorabend der Ausbreitung des Internets, das zuk��nftige Medium eines interaktiven Fernsehens entwarf., A future media aesthetic is both a media aesthetic of the future and an aesthetic of future media. Media art has always explored unimagined and untried possibilities of various media, creating an imaginative glimpse of future media. Media art, one of the central art forms of the 20th and 21st centuries, saw it as one of its tasks to invent new media (Rosalind Krauss) - often precisely by resorting to technologies and processes that seem obsolete. Media art, then, does not merely reflect an underlying medium, as was claimed by (high) modernist aesthetics, and problematically enough, for all art. It first invents a medium. Media are thereby surrounded by imaginaries that precede their invention, accompany their enforcement, and resonate nostalgically in their disappearance. Media art can therefore be understood as a special case of such imaginaries - an imagination that is not (only) discursive, but material, demonstrative and performative. The planned issue gathers contributions that examine the practices of inventing future media through media art. One focus is on the important media art project Piazza virtuale by Van Gogh TV, which conceived the future medium of an interactive television at documenta IX in 1992, precisely on the eve of the spread of the Internet.

Departing from the concept of an Internet of Things (IoT) as a means to give voice to non-human ‘things’, the project Wildthings.io seeks to develop experimental prototypes for grassroots, community-run digital networks, and DIY electronic devices as artistic interventions. This article discusses the iterative design processes that concluded in the IoT artwork Papawai Transmissions, which imagines novel ways of understanding and (re-) connecting with disconnected streams, their communities and their ecosystems in urban Aotearoa/New Zealand, focussing particularly on slowness as a key method for designing in a more-than-human context, alongside openness and seamfulness.

Starting from the ontology of performance by Peggy Phelan, the article seeks to demonstrate the ontogenesis of performance, showing how performance has been manifested in various forms from its beginnings. Performance is analysed in the context of a new artistic practice in the 1960s and 1970s, where porous boundaries between artistic disciplines led to the fruitful permeation of performance, photography, video, film, and conceptual art. Special attention is paid to the medium specificity of performance as a nonmaterial art form and to its representation, documentation, archiving, and exhibition. The last section of the text is dedicated to reperformance as a recently emerged form of repetition and documentation and to the use of performance in light of the increased interest in preserving the live art of the past., Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, No 11 (2020): Yugoslav Performance Art: On the Deferred Production of Knowledge

In this work the author develops her own project intended to work through the social memory-related conflict knot in today’s Ukraine. As the focus point, the issue of memorializing the tragedy of Babyn Yar has been chosen, the place of drama that started from the Holocaust act and included crimes of two totalitarian regimes. The research identifies a transformation direction of an individual’s place in social relationships that emerges in the context of development of the new media with their ‘many-to-many’ principle, identifies the most relevant visual tools in New Media Art that emerge in the context of an iconic turn and at the same time, in a situation of acknowledgement of the impossibility to use the language of images in representation of the 21st century tragedies; reveals the potential of the notion of new spatiality/locality in the implementation of New Media Art projects in the context of contemporary urban studies transformation; reveals the potential of a flexible identity of the post-modernism era for the development of a shared experience in the interaction between an individual and New Media Art works; develops conceptual grounds for the Memory Garden project in the context of interpreting both artistic and social goals of the project., Dans cette thèse, l'auteur développe son propre projet destiné au nœud de conflit lié à la mémoire sociale en Ukraine d'aujourd'hui L’auteur se focalise sur la question de la commémoration de la tragédie de Babyn Yar, le lieu du drame qui a commencé à partir de l'acte de l’Holocauste et a vu les crimes de deux régimes totalitaires. La recherche identifie une direction de transformation de la place d'un individu dans les relations sociales qui émerge dans le contexte du développement des nouveaux médias avec leur principe « plusieurs-à-plusieurs »; identifie les outils visuels les plus pertinents dans l'art des nouveaux médias qui émergent dans le contexte d'un changement iconique et en même temps, dans une situation de reconnaissance de l'impossibilité d'utiliser le langage des images dans la représentation des tragédies du 2 le siècle ; révèle le potentiel de la notion de nouvelle spatialité/localité dans la mise en œuvre de projets d'art des nouveaux médias dans le contexte de la transformation des études urbaines contemporaines ; révèle le potentiel d'une identité flexible de l'ère post-moderne pour le développement d'une expérience partagée dans l'interaction entre un individu et les œuvres d'art des nouveaux médias ; développe les fondements conceptuels du projet Memory Garden dans le contexte de l'interprétation des objectifs artistiques et sociaux du projet.

This paper explores the concept of fields of experienceas a way to engage with the conditions of emergence of what we might call sentience. As a process of fielding, sensation and processes of sense-making are of an emergent and entangled quality in the overall ecology of experience. We specifically wish to emphasize the dynamics of the closely interrelated conditions for sensing and sense-making –what we concep-tualize as ‘shiftingimmedations’ -and its affective politics. Rather than transgression, ‘shifting’ foregrounds the some-times almost imperceptible reorientations of fields of experi-ence that are lived immediately as tendencies and vectors for change (feeling the non-sensuous). In particular, we wish to zoom in on specific practices and technologies that might modulate and reorient such experiential fields. We do so by analyzing two cases that emphasize the emergent relations be-tween digital and interactive technologies and their fielding potential; BERMUDAis an interactive installation that at-tempts to relay affective intensity into tendencies for collec-tive action, whereas the interventions of etcetera emphasize time-sensitive modulations of experience. Exploring these cases,we ask how experiential fields and shifting immedia-tions might allow us to think and act towards new forms of engaging in a politics of sentience beyond the human subject This paper explores the concept of fields of experience as a way to engage with the conditions of emergence of what we might call sentience. As a process of fielding, sensation and processes of sense-making are of an emergent and entangled quality in the overall ecology of experience. We specifically wish to emphasize the dynamics of the closely interrelated conditions for sensing and sense-making – what we conceptualize as ‘shifting immedations’ - and its affective politics. Rather than transgression, ‘shifting’ foregrounds the sometimes almost imperceptible reorientations of fields of experience that are lived immediately as tendencies and vectors for change (feeling the non-sensuous). In particular, we wish to zoom in on specific practices and technologies that might modulate and reorient such experiential fields. We do so by analyzing two cases that emphasize the emergent relations between digital and interactive technologies and their fielding potential; BERMUDA is an interactive installation that attempts to relay affective intensity into tendencies for collective action, whereas the interventions of etcetera emphasize time-sensitive modulations of experience. Exploring these cases, we ask how experiential fields and shifting immediations might allow us to think and act towards new forms of engaging in a politics of sentience beyond the human subject.