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We propose an automatic method for generating flight summaries of prescribed duration, given any planed 3D trajectory of a flying object. The challenge is to select relevant time‐ellipses, while keeping and adequately framing the most interesting parts of the trajectory, and enforcing cinematographic rules between the selected shots. Our solution optimizes the visual quality of the output video both in terms of camera view and film editing choices, thanks to a new optimization technique, designed to jointly optimize the selection of the interesting parts of a flight, and the camera animation parameters over time. To our best knowledge, this solution is the first one to address camera control, film editing, and trajectory summarizing at once. Ablation studies demonstrate the visual quality of the flights summaries we generate compared to alternative methods. [ABSTRACT FROM AUTHOR]

The structural-contextual dual frameworks theory comprises two heuristic frameworks that provide alternative means for the interpretation of metaphor in pictorial artworks (Crawford & Juricevic, 2016). The first of these frameworks is the contextual framework, which contends that the interpretation of pictorial metaphors is contextually rooted, and the second is the structural framework which interprets metaphor based on structural components of an artwork. We used these frameworks to analyze the literal and metaphorical use of the pictorial device of exaggerated size in 59 well-known works of art sampled from across history. Exaggerated size was chosen for analysis because it is often used literally (e.g., to depict an actual giant) or metaphorically (e.g., to depict an existential concern). The artworks were sorted into four separate categories (Literal-Literal, Metaphorical-Literal, Literal-Metaphorical, and Metaphorical-Metaphorical) based on their interpretation by the structural and contextual frameworks (respectively). A cumulative Poisson distribution with α <.05 revealed that artists typically produced artworks in all categories except for the incongruent combination of literal contextual information and metaphoric structural information. This suggests that when contextual and structural information conflicts in art, viewers rely on contextual information; when metaphoric and literal information conflicts, viewers favor metaphoric interpretations. This present study supports the idea that the structural-contextual dual frameworks theory may be used to investigate the use of metaphors across art styles and media. These results also provide a guide for combining literal and metaphorical information, whether the goal is ease of communication or to intentionally challenge the viewer. [ABSTRACT FROM AUTHOR]

Science art practices are often framed as science communication in a manner that overlooks the capacity of the arts to provide engagement opportunities beyond discourse. The authors perform a thematic analysis of audience interviews from scientific media art installations that depict complex, intangible, invisible, and ephemeral scientific phenomena, specifically focusing on medical nanotechnology. The analysis reveals that visitors recognize sensorial experiences beyond traditional science communication, while scientists' experiences expanded their definition of engagement. The authors argue that scientific media art practices act as sites of meaning-making and nondiscursive engagement that create reflective and embodied contexts for encounters with emerging technologies. [ABSTRACT FROM AUTHOR]

The rapidly evolving nature of emerging technologies renders artworks made using such technologies a challenging category of objects to be handled by institutions. This paper presents real scenarios of how art made with Virtual Reality (VR) and Augmented Reality (AR) is acquired, exhibited and finally preserved by museums and art institutions, presenting a clear picture of a particular period. Though an extensive body of literature and studies deal with the preservation of 'New Media', very few focus on the challenges faced by museums and private institutions when it comes to artworks that use VR/AR. We used in-depth interviews with eight museum professionals working in six key institutions that engage with VR/AR artworks, and four artists, who create such works, in order to define current institutional practices, understand the challenges museum professionals face when dealing with VR/AR artworks, and identify the preservation-related concerns of artists working with these technologies. [ABSTRACT FROM AUTHOR]

This article is an audience ethnography, focusing on the documentary The Work (dir Jairus McLeary and Gethin Aldous, US, 2017), which depicts a four-day therapeutic programme involving men from the community and men from a high security prison. The film was screened to audiences of people who live and work in an English prison-based therapeutic community. Previous prison-based audience studies have highlighted the significance of the media text and the characteristics and experiences of the audience, but have not specifically addressed the salience of the context in which the media is consumed. By conducting the research in an atypical penal environment, the intention is to illuminate how consumption is affected by different penal contexts. The audience offered macro, meso and micro level responses to the documentary. At a macro level, they recognised the reforming intentions of the film, but also revealed the limitations of popular culture, with its emphasis on spectacle. At a meso level, the audience offered a sophisticated and expert analysis of the content and omissions of the film's representation of therapeutic processes and cultures. At a micro level, those serving prison sentences used the content of film as therapeutic material, reflecting on their own emotions and experiences, while the prison staff used the content to explore their professional identities. The audiences viewed the film through a therapeutic habitus, and media consumption was a way of enacting and reinforcing the expectations and practices of therapeutic community life. By highlighting the salience and variability of penal contexts, the study extends prison-based audience scholarship, but also highlights a factor that should be considered in the planning and design of media and arts programmes in prison. [ABSTRACT FROM AUTHOR]

AbstractClothing the body is a human activity par excellence and clothes, insofar as they are an embodied everyday practice experienced by all cultures, tend to migrate with their owners. Clothes offer protection, operate between the self and others, and might also function as mementoes connecting past, present, and future. Attentive to the ways in which clothes affect and are affected by the body, authors writing about contemporary refugeeism have concocted powerful images of the (un)clothed body to render the depersonalization to which refugees are often subjected, the uncertainties surrounding their condition, and how material culture objects might help them preserve a sense of self-continuity. Engaging intertextually and ekphrastically with a wide range of media and art forms, Emma Lee’s The Significance of a Dress (2020) reimagines the narratives embedded in those tex(tile)s moving across borders. Focusing on those poems centered on refugeehood, this article seeks to examine how Lee uses clothing as a catalyst for exploring issues of identity loss, vulnerability and resilience, whilst illuminating the human dimension so often erased in mass media reports on refugeeism. The analysis will be prefaced by a discussion on the nexus between clothing, mobility and dispossession, where the concept of “clothescapes” is introduced as an analytical tool to theorize how individuals, clothes and different environments interact. [ABSTRACT FROM AUTHOR]

The absence of clear protocols in the conservation of new media art has led to a situation of extreme precariousness of digital artworks. The irruption of blockchain culture and NFTs seems to offer an opportunity to overcome this situation. This paper aims to clarify whether or not the structure of data and metadata associated with transactions in the blockchain solves the challenging obsolescent and unstable condition of new media art. The disturbing reality is that the so-called 'cryptoart' is not always stored and encapsulated on the blockchain itself. In a high number of cases, assets just point to artworks living outside, stored on off-chain servers or platforms. This paper analyzes the possibilities for the preservation of art hosted on the chain. Despite some limitations, this method is understood as the more coherent and robust for long-term life and availability of digital art associated with Web3 technology. [ABSTRACT FROM AUTHOR]

This paper considers the intersection of performativity and intersemiotic translation in contemporary art through a case study of a new media art project aimed at visually transcoding Dung Kai-Cheung's novel Atlas: The Archaeology of an Imaginary City, a book of postmodern fiction about the palimpsest nature of Hong Kong as a linguistic landscape and a city of (cultural) translation. In Hong Kong Atlas, the locations in Dung's book are performatively mapped out onto the real semioscape of contemporary Hong Kong using psychogeography documented in digital images, which are then transcoded through a series of iterative translations into a variety of visual formats. By analysing the complex methodology and the unique interdisciplinary theoretical framework underpinning this artistic research (combining insights from fields such as visual studies, translation studies, sociolinguistics, multimodal discourse analysis, art theory, and practice-based research epistemology), the article aims to provide a novel approach to the discussion of visual translation as intersemiotic translation. [ABSTRACT FROM AUTHOR]

This paper promoted the development of new media art and film and television culture creation through multi-modal information fusion and analysis, and discussed the existing problems of new media art and film and television culture creation at present, including piracy, management problems and lack of innovation ability. The network structure of RNN neural network can cycle information among neurons, retain the memory of previous user information in the progressive learning sequence, analyze user behavior data through previous memory, accurately recommend users, and provide artists with a basis for user preferences. The viewing experience scores for works 1 to 5 created using traditional creative methods were 6.23, 6.02, 6.56, 6.64, and 6.88, respectively. The viewing experience scores for works 1 to 5 created through multi-modal information fusion and analysis were 9.41, 9.08, 9.11, 9.61, and 8.44, respectively. Movies created through multi-modal information fusion and analysis had higher viewing experience ratings. The results of this article emphasize that multi-modal information fusion and analysis can overcome the limitations of traditional single creative methods, provide rich and diverse expressions, and enable creators to more flexibly respond to complex creative needs, thereby achieving better creative effects. [ABSTRACT FROM AUTHOR]

Explainable Artificial Intelligence (XAI) enables Artificial Intelligence (AI) to explain its decisions. This holds the promise of making AI more understandable to users, improving interaction, and establishing an adequate level of trust. We tested this claim in the high-risk task of AI-assisted mushroom hunting, where people had to decide whether a mushroom was edible or poisonous. In a between-subjects experiment, 328 visitors of an Austrian media art festival played a tablet-based mushroom hunting game while walking through a highly immersive artificial indoor forest. As part of the game, an artificially intelligent app analyzed photos of the mushrooms they found and recommended classifications. One group saw the AI's decisions only, while a second group additionally received attribution-based and example-based visual explanations of the AI's recommendation. The results show that participants with visual explanations outperformed participants without explanations in correct edibility assessments and pick-up decisions. This exhibition-based experiment thus replicated the decision-making results of a previous online study. However, unlike in the previous study, the visual explanations did not significantly affect levels of trust or acceptance measures. In a direct comparison, we consequently discuss the findings in terms of generalizability. Besides the scientific contribution, we discuss the direct impact of conducting XAI experiments in immersive art- and game-based environments in exhibition contexts on visitors and local communities by triggering reflection and awareness for psychological issues of human–AI interaction. [ABSTRACT FROM AUTHOR]

In the mid-1970s the group Laboratory of Presentation Techniques (LPT) was active at the Academy of Fine Arts in Katowice. The artists conducted experiments and formal searches, exploring the potential of film, performance, and a new medium: video. LPT was the first in Silesia, the second in Poland, and one of the first artistic groups in Europe dealing with video art. Looking at the artistic path of Grzegorz G. Zgraja, the last of the artists, as well as Jadwiga and Jacek Singer's works, the paper analyzes the most pivotal artistic achievements of the group. Based on the interviews and archival research, the author reconstructs LPT's artistic contribution to European media art and the reasons these pioneers of media art were forgotten. [ABSTRACT FROM AUTHOR]

This paper calls for a reassessment of early-stage Korean avant-garde and experimental art as the cornerstone of Korean media art. The aim is to discern a new genealogy of media art in Korea by tracing and linking the activities of early avant-garde artists and media art pioneers who have been neglected in the dominant art historiography, which has shown a preference for painting and video art. My detailed analysis of the experimental artists of the 1960s and 1970s, small groups in the mid-1980s, and the Art Tech Group in the early 1990s demonstrates how they revealed and articulated their spirit of resistance against academism and the mainstream using technology, thus following a different trajectory from that of the avant-garde and media art in Europe and North America. [ABSTRACT FROM AUTHOR]

The rapid development of neural network technologies in recent years has given rise to the formation of many interdisciplinary research areas, including neural network aesthetics. The aesthetics of generative creativity today is studied not only in the context of the history of digital art, but also in comparison with the practices of other artistic trends and schools. Thus, the expression “neural surrealism”, which has become entrenched in popular discourse, undoubtedly refers to the aesthetics of classical surrealism, framed and fixed in Andre Breton’s program texts: neural network algorithms allow you to create images that seem both realistic and absurd due to unexpected combinations of objects, distorted proportions and presence of uncanny images. Although “neural surrealism” can be seen as a depoliticized and unbiased game of generated images in contrast to the surrealism of the 1920s and 30s, which was not merely an artistic movement but a radical social project, it appears that the very ability of neural networks to generate extraordinary and unpredictable images holds a certain critical potential. Using the methods of formal-stylistic and ideological-content analysis, the author of the article concludes that “neurosurrealism” in a sense continues the line of classical surrealism to undermine the automatism of perception and patterns of thinking. Generative algorithms become a kind of “exclusion production machines” that allow you to see reality from an unexpected angle. In addition, the very fact of using neural networks in art raises important questions about the nature of creativity, the limits of artificial intelligence and the future of man in the world of smart machines. Neurosurrealism problematizes well-established ideas about the originality and intentionality of artistic expression, which indicates the close connection of generative artistic practices with the aesthetics of classical surrealist creativity. The conducted research will be useful to specialists of a wide profile: media theorists, art historians, philosophers, cultural scientists, as well as developers and representatives of the creative industries.

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Borrowing from computing via media art, we introduce the concept of 'glitch' pedagogy to insert unexpected tension into the marketing curriculum, offering learners a glimpse into the underlying ideological structures of neoliberal higher education and opening up spaces of resistance and affirmation. We draw on neoliberal, marketised educational discourses and the bureaucratic systems they engender to illustrate glitches within the employability agenda, providing students conceptual space to leverage the contradictions and inequalities implicit in this agenda. As a genre of post-critical pedagogy, we argue that glitch pedagogy can move us beyond some of the noted dualisms of critical pedagogy to recognise the complexity of students' emotional investments, in particular socio-cultural and political positions by way of affective relations. [ABSTRACT FROM AUTHOR]

• Application of AI in the field of cultural heritage preservation and mediation. • Intelligent tool for an augmented audiovisual analysis of a video art archive. • Automated analysis of the archive using concepts of the poetics of video art. • The benefits of the intelligent tool are illustrated on archive of the Vasulkas. This article focuses on the development and application of intelligent software for image and sound recognition to perform iconographic and audiographic analyses of the work of video art pioneers Steina and Woody Vasulka (the Vasulkas). The AI epistemological tool Vasulka Live Archive is designed to provide unique results that benefit from the synthesis of automatic statistical analysis across the dataset and application of predefined categories that are the results of aesthetic evaluation of the Vasulkas' videos and inspired by terminology of video art aesthetics (Weibel, Krauss). The advantages of this AI tool reveal themselves particularly when the tool is used for transmedia analysis of the whole dataset (the Vasulkas' work) as the accuracy and completeness of its results are out of reach of an individual human researcher. We argue that this kind of AI tools can contribute to more exact and data-based findings on media art aesthetics, it can contribute to establishing a new field augmented iconology (Spratt) as well as expanding the sphere of AI tools application towards digital collections of experimental and conceptual art of 20th and 21st centuries. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Traditional digital media art and design systems take a long time to run and cannot handle a large number of objects simultaneously. Therefore, the author proposes a digital media art and design method based on ChatGPT technology. ChatGPT technology is an important part of networking. Prepare to provide conference support for various applications such as customer service, personal assistant, robotic interview, and so on. ChatGPT can not only answer the question that is set, but also solve the question openly. The comprehensiveness and intelligence of ChatGPT have attracted widespread attention since its launch. TThe hardware system adopts dual core TMS320C6657 and DDR3Thel1333 series processors as the core circuit, together with high speed external storage, to expand the image transmission line of multi-data; System software uses module architecture to design image modules, video modules, and voice modules, all of which are integrated into the core of the system as modules. In this experiment, 10 images were transferred and the running time was tested. Experimental results showed that, the traditional digital media art and design system had three errors, which took more time to run. [ABSTRACT FROM AUTHOR]

This paper is an analytical, comparative study between James Clavell's 1975 novel, Shōgun, and the 2024 mini-series adaptation created by Rachel Kondo and Justin Marks under the same name. It investigates the adaptation's artful methods of storytelling and the crucial decisions made by the showrunners throughout its production. Their attempt to polish the rich original story written by Clavell represents an important showcase for all modern adaptations that aspire to bring new ideas into classical narratives. As the novel had been known for its tendency to divulge into, long explanatory segments about the cultural and inner workings of Japan through abundant descriptions told by an omniscient narrator and through the use of inner monologues, the TV series is left to face the challenge of fitting all of the cultural guidelines and abstract thoughts onto a different frame. To compensate for its bound lacklustre textual expression, the producers are forced to cross the novelistic boundaries of the book by focusing their efforts on the great visual potential that the story could offer. In this research, I will explore the decisions that carried the show throughout its episodes by relying on the structural theories of adaptation and the various socio-cultural opinions of scholars and critics, which revolve around the representation of Japanese culture by Western artists. My research mainly aims to assess the level of collaboration the two art mediums are able to achieve, both thematically and culturally, in their overall contribution to the story. [ABSTRACT FROM AUTHOR]

In Juan Cárdenas’ literature, writing is an experiment that tests the limits of social representation and the boundaries of academic disciplines. His 2013 novel Los estratos dismantles Colombia’s stratified society, where Indigenous and Black communities occupy the lowest strata, while capturing mythical and aural elements of both minorities in the contemporary urban and rural spheres. Instead of speaking for the Indigenous and Black subjects, the novel presents minorities through the main character’s intellectual and corporal limitations as he travels to the jungle and drinks yagé. In this article, I argue that in Los estratos the shamanic rituals of preparation and intake of psychoactive brews are an artistic practice, analogous but not identical to experiences within the visual arts. Challenging conventional representations of the Indigenous in art and media, I show how psychoactive brews can be understood as part of contemporary artistic networks in Colombia. [ABSTRACT FROM AUTHOR]

Learning around artificial intelligence (AI)-powered technologies that attends to power is an urgent and widely felt priority among the learning sciences and CS ed broadly. Popular approaches to AI education focus on technical skills, with far less theoretical and practical work around critical and justice-centered AI learning. Adding to this literature, we discuss tool design and observed interactions in Drag vs AI workshops, where participants use hands-on makeup art as a medium for fooling, subverting, and refusing facial recognition. Our broader analysis asks how participants make sense of the technical and political aspects of AI, as they interact with AI through the Drag vs AI workshops' modes of aesthetic transformation, tinkering, and resistance. In this paper, we focus on participants' embodied algorithmic tinkering with AI and affordances for justice-centered computing education. Our analysis highlights how tinkering and play modes of interaction with AI materials can promote critical and agentive learning. [ABSTRACT FROM AUTHOR]

Interdisciplinary courses and activities are becoming more popular as the benefits of collaboration have become apparent. For example, collaboration between different disciplines in organizations, such as engineering and marketing, has been shown to significantly enhance the product development process. Various strategies have been used to encourage this collaboration. One strategy is to provide instruction in collaboration across disciplines at the undergraduate collegiate level. This case study discusses an interdisciplinary project between Marketing Research, Engineering, and Media Arts. The basic design of the initial course, strategies used to enhance collaboration, student learning outcomes, identification of key issues affecting the interdisciplinary project, and a revised design for teaching future interdisciplinary projects are included. Also included are some of the major challenges and design issues with interdisciplinary work. [ABSTRACT FROM AUTHOR]

This paper analyzes Italian artist Auro Lecci's contribution to pioneering media art, beginning with his paintings and ending with his computer artworks (1969–1972). As the author suggests, Lecci's paintings were already characterized by an algorithmic method that the artist went on to develop in his computer-generated works. The paper first discusses the plotter drawings Lecci created at the Computing Center of the University of Pisa (CNUCE), and then focuses on his last computer art project, made at the University of Massachusetts in Amherst, to suggest connections between Lecci's work and artificial intelligence. [ABSTRACT FROM AUTHOR]

Human-technology interactions have constantly exposed humans' technologically mediated perception to a psychological paradox of two conflicting coupled states. The first supports human capabilities, whereas the second affects individuals' self-perceptions. "A Drop of Light" is an interactive new media art investigation based on human-computer interaction. It seeks to reproduce this paradox by developing a computer-generated holographic spot. This spot acts as a responsive technological hypermedium with which participants interact, and their technologically mediated perceptions are embodied, expressed, and analyzed. By defining and applying three structural principles of an assumed technological embodiment model of human perception, a dialogue was established between the generated holographic spot and the participants to facilitate three levels of integration with the technological hypermedium. The project culminated in the creation of an empirical interactive installation performance employed as an experimental psychology lab. In this exhibition-based lab, the interaction zone embodied the performer's hesitation mode. Her technological attitude and consequent responsive activities oscillated between technophilia and technophobia. These are two conflicting psychological states. By analyzing the interactions' real-time-based processes, the role of the structural principles was validated. They were instrumental in developing the technologically mediated symbolic conversation between the performer and the hypermedium. Operationally, the principles equipped the conversation's two parties to upgrade their mutual interactions toward a symbiotic coexistence in the installation's ecosystem. Through this, the performer's hesitation mode was reduced, and her balanced technological attitudes were validated. Within this context, the project emphasizes how interactive new media practices contribute. They help investigate participants' technologically mediated experiences and behaviors. They also aid in the derivation of related quantitative and qualitative data in favor of human perception studies and related psychological inquiries. [ABSTRACT FROM AUTHOR]

This paper examines the relationship between societal structures shaped by traditions, norms, laws, and customs, and creative expressions in arts and media through the lens of the predictive coding framework in cognitive science. The article proposes that both dimensions of culture can be viewed as adaptations designed to enhance and train the brain's predictive abilities in the social domain. Traditions, norms, laws, and customs foster shared predictions and expectations among individuals, thereby reducing uncertainty in social environments. On the other hand, arts and media expose us to simulated experiences that explore alternative social realities, allowing the predictive machinery of the brain to hone its skills through exposure to a wider array of potentially relevant social circumstances and scenarios. We first review key principles of predictive coding and active inference, and then explore the rationale of cultural traditions and artistic culture in this perspective. Finally, we draw parallels between institutionalized normative habits that stabilize social worlds and creative and imaginative acts that temporarily subvert established conventions to inject variability. [ABSTRACT FROM AUTHOR]

The Metaverse is regarded as a brand-new virtual society constructed by deep media, and the new media art produced by new media technology will gradually replace the traditional art form and play an important role in the infinite Metaverse in the future. The maturity of the new media art creation mechanism must also depend on the help of artificial intelligence (AI) and Internet of Things (IoT) technology. The purpose of this study is to explore the image style transfer of digital painting art in new media art, that is, to reshape the image style by neural network technology in AI based on retaining the semantic information of the original image. Based on neural style transfer, an image style conversion method based on feature synthesis is proposed. Using the feature mapping of content image and style image and combining the advantages of traditional texture synthesis, a richer multi-style target feature mapping is synthesized. Then, the inverse transformation of target feature mapping is restored to an image to realize style transformation. In addition, the research results are analyzed. Under the background of integrating AI and IoT, the creation mechanism of new media art is optimized. Regarding digital art style transformation, the Tensorflow program framework is used for simulation verification and performance evaluation. The experimental results show that the image style transfer method based on feature synthesis proposed in this study can make the image texture more reasonably distributed, and can change the style texture by retaining more semantic structure content of the original image, thus generating richer artistic effects, and having better interactivity and local controllability. It can provide theoretical help and reference for developing new media art creation mechanisms. [ABSTRACT FROM AUTHOR]

From the social media movement 'Now You See Me Moria' to the Hope Art Project, refugees in Lesvos are using digital platforms to disrupt restrictive legislation, practices and discourses inflicted on them by state authorities. [ABSTRACT FROM AUTHOR]

The article analyzes how refugee communities in Lesbos are using art and social media to fight against the restrictive laws imposed by state authorities. The social media movement "Now you see me Moria" and the art project "Hope Art Project" are mentioned as examples of this visual and digital struggle. The project has allowed refugee artists to express their own stories and break away from the dehumanized representation of refugees in the media and politics. The campaign "Now you see me Moria" is also highlighted, which uses mobile phones and social media to make visible the inhumane conditions in refugee camps and demand respect for the rights of refugees. [Extracted from the article]

This work illustrates what kinds of consumption emerge during a traumatic life event, theorising the interweaving of trauma and catharsis through the medium of art and craft consumption. The methodological context sits within a non-representational theory where the data are narrated through the purchases and findings, physical, emotional and cognitive engagement with art and craft materials, through to the eventual place, value and story of the made artefact itself. The work presents three main contributions: an empirical understanding of therapeutic art consumption within trauma; a methodological experiment in how using non-representational theory centred on creative processes can develop worthy modes of data collection, organisation, and analysis; and the theoretical development of a consumption framework towards a theory of cathartic consumption during trauma. [ABSTRACT FROM AUTHOR]

I will briefly discuss the history of research-related projects that Mark Burgin and I worked on together. I will then discuss our joint research related to the circle of sense and nonsense. One paper was entitled In a search for deeper meanings: navigating the circle of Sense and Nonsense and in turn articulating logical varieties as knowledge illuminators and the second was entitled In the Circle of Sense and Nonsense, Including A Mathematic Model of Meaning. This research represents a bridge between the media arts and sciences (my artwork) as a means of embodying ideas exploring a particular approach to meaning production and related computation, as well as Burgin's concepts related to logical varieties and mathematical models of meaning. I will refer to the full papers and links because they present a very robust and full articulation of the concepts discussed here. In this paper, I will briefly touch on the areas of research, supply short definitions, and refer to the relevant historical publications. [ABSTRACT FROM AUTHOR]

Fredrik Barth called attention to two ways ritually transmitted knowledge gains value: knowledge he associated with the figure of the 'Guru' valued for being widely shared versus knowledge associated with the figure of the 'conjurer' or 'initiator' valued for the opposite reason. In this article, I argue that there is another kind of ritual knowledge-transmitter who holds an appropriately 'in-between' position: the spirit medium. During 'demonstrations', mediums in the Spiritualist tradition offer signs from the spirit world for their audiences to recognise in relation to their deceased loved ones. Whereas Gurus (in Barth's typology) are likely to be storytellers and conjurers are not, mediums are distinct for telling what I call 'protonarratives'. Protonarratives are character sketches joined with allusions to events or signs that suggest stories. They are not narrative in form, but can evoke stories that live in listeners' memories. [ABSTRACT FROM AUTHOR]

While artistic representations of scientific subjects, phenomena, and data have gained traction on social media, their effects on audience engagement remain understudied. Using an experiment with Instagram users in the United States (N = 655), this study found that exposure to artistic representations of COVID-19 information on Instagram significantly increased individuals' interest and positive emotions compared with exposure to informationally equivalent data graphs. Positive emotions also mediated the relationship of art exposure on one's liking and sharing of Instagram posts. We discuss the potential roles of visual art and social media in shaping public engagement with science. [ABSTRACT FROM AUTHOR]

Copyright of Latin American & Latinx Visual Culture is the property of University of California Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In August 2021, The Witch Institute came to life as a seven-day virtual symposium to address the figure of the witch in art and media. For its duration, the symposium served as a collaborative meeting space for emerging and established voices, all of whom were responding to increasingly conservative political climates through critical, intersectional, and multi-modal engagements with the figure of the witch. This issue of PUBLIC represents some of these responses. In this introduction, symposium organizers/issue editors, offer some guiding thoughts to the collection and frame the accompanying voices via conversations of artmaking, activism, ritual, and care. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The digital exhibition space called Header/Footer Gallery hosted by the nonprofit organization New Media Caucus web presence has presented numerous exhibitions highlighting innovative work by artists across new media art. Established in 2020, Header/Footer has invited curators to curate exhibitions that explored the themes of technological malfunction, the legacies of cyberfeminism in the twenty first century, and Afrofuturism. Since then, taking up the role as the official curator for Header/Footer Gallery, the New Media Caucus' curator has created different exhibitions concentrating on inclusivity and the exposure of emerging artists through creative curatorial design strategies. For this paper, we take Header/Footer Gallery as a case study to analyze the development of virtual exhibition spaces, their histories, benefits, challenges and their futures. Taking Header/Footer Gallery as an example of a virtual space, we analyze its challenges including the promotion and dissemination of exhibitions and their digital engagement, despite the increase in accessibility of virtual galleries, as well as the challenges of archiving virtual exhibitions. We also examine the creative freedom in creating a virtual gallery from the ground up and in establishing and promoting inclusive practices that emphasize diversity. [ABSTRACT FROM AUTHOR]

In this paper, we assess the impact of the COVID‐19 pandemic on the Australian visual arts sector. We base our analysis on the responses of over 1500 visual artists and arts workers to a survey conducted by the National Association for the Visual Arts (NAVA), the national peak body for the visual and media arts, craft and design sector in September 2021. NAVA employed this online survey to study the relationship between the pandemic and both the incomes and mental health of artists and arts workers. Using regression analysis, we find that there has been a significant impact for both artists and arts workers, with the severity of the impacts varying by gender, age and the availability of state‐based and Australian Government support programmes. Reduced hours and loss of contracted work and commissions due to the pandemic were both related to declines in income and mental health outcomes for artists and for arts workers. Housing stress was associated with a higher likelihood of a significant or extreme mental health impact for artists and arts workers. In addition, artists' incomes and mental health outcomes were impacted when faced with a reduced ability to sell, although some artists were able to increase their online profiles. [ABSTRACT FROM AUTHOR]

The tendency to reduce the movements of performers in media art to data results in a flattening of identities and makes the performers' essence seemingly insignificant. Two case studies showcase what might be lost through datafication, even as they resist it: Lucinda Childs "walking" in Bach 6 Solo by Robert Wilson, and Michael Jackson standing still at the start of his 1993 Super Bowl Halftime show. The desire to detach the body from aesthetic significance can be traced back to America's historical racism. [ABSTRACT FROM AUTHOR]

In this afterword, I reflect on the contributions gathered in this special issue, which make clear that social invisibility is multivalent, as visibility, invisibility, and the oscillation between them have different meanings and effects in different social and literary contexts. To the points made about social invisibility in the contributions, I add three more. First, after considering social disappearance as a possible alternative to social invisibility, I conclude that the lack of clear boundaries between these two highly elastic metaphors should not be seen as a problem, but as fruitful: running with both metaphors allows us to arrive at a better understanding of the lives led by particular precaritized groups, and to compare these lives across historical and cultural contexts, as well as across approaches and methods. Second, while social invisibility and social disappearance have predominantly been used to figure disempowerment, it should be acknowledged that escaping notice can also empower. A brief reading of Don DeLillo's Cosmopolis illustrates the power self-chosen invisibility may impart to the privileged. Third, I argue that humanities approaches to fictionality and narrative and visual form, as found across different types of art and media, provide ways of thinking through social invisibility that add something valuable to empirical and ethnographic approaches in the social sciences. The main reason for this is that narrative and visual form can defamiliarize our perception of the social world, enabling us to notice again or notice differently what has become unremarkable. [ABSTRACT FROM AUTHOR]

In the Hong Kong Chief Executive's 2020 Policy Address, the Hong Kong Special Administrative Region (HKSAR) Government implemented strategies to integrate arts and technology as a new trend in cultural development. With the co-existence of a governmental initiative in 'arts and technology' ('arts tech') development and the rapid advancement of new technologies, it is frequently seen that new technologies (e.g., virtual reality [VR] and augmented reality) have been widely adopted in interactive media art productions in Hong Kong. Drawing on ethnographic research on a commercial virtual event, and a VR theatre performance produced by a Hong Kong cross-media creative studio, this study unveils discrepancies existing between government officials, commercial marketers, and art creators, ranging from objectives to practices in applying technologies to virtual art production. The juxtaposition of a market-driven commercial virtual campaign and the Chinese nationalist agenda embodied in the government-funded arts tech project reflects how the socio-historical background and changing political situation in Hong Kong extends its postcolonial neoliberal nationalism (PNN) to the arts tech arena. The contribution of this paper is two-fold: first, by adopting 'China as method' as epistemological analysis, the mediation of PNN by arts tech explains a 'southbound imaginary' in Hong Kong's arts and cultural practices through a changing relationship between Hong Kong and mainland China. Second, in contrast to the current scholarship focusing on human governance in the formation of neoliberal nationalism, this paper underscores the 'power' of techno-cultural material in mediating the neoliberal nationalism of Hong Kong, after its reversion to China, through arts tech development. [ABSTRACT FROM AUTHOR]

This article, which explores a community filmmaking program for youth facing multiple barriers, presents a unique way of reimagining democratic practice through artful community inquiry that foregrounds entanglements of relations and engagements. In an era of constant change, increasing interdependence between local needs and global influences invites us to attend to the complex dynamics of individual and community needs. Community inquiry as a conceptual framework reimagines the community as curriculum—a way of actively engaging with the world. The concept of "transversality" acknowledges that learning is an educative force that disrupts binary forms of logic and layers of hierarchy, allowing us to traverse lines of entanglement when we navigate and negotiate collective engagement in communities. Insights from a youth filmmaking program show how "community as curriculum" and thinking transversally can enhance the vital role of artful community inquiry in promoting democratic practice by connecting learning with lived experience. [ABSTRACT FROM AUTHOR]

"Curating lively objects: exhibitions beyond disciplines" is a book edited by Lizzie Muller and Caroline Seck Langill that explores the role of objects in our lives and their impact on humans and their surroundings. The book takes an interdisciplinary approach, considering objects in various contexts such as art galleries and museums. It emphasizes the agency of material things and challenges anthropocentric views, with a particular focus on Indigenous Knowledge Systems. The book is organized into three sections that examine different aspects of object liveness, and while it offers thought-provoking insights, some chapters may be challenging to read due to dense academic language. Nonetheless, it provides stimulating conversations for students, practitioners, and scholars in the museum field. [Extracted from the article]

In this special issue, we turn to ideas of and approaches to critical technical practices (CTPs) as entry points to doing critique and doing things critically in digitally mediated cultures and societies. We explore the pluralisation of 'critical technical practice', starting from its early formulations in the context of AI research and development (Agre, 1997a, 1997b) to the many ways in which it has resonated and been taken up by different publications, projects, groups, and communities of practice, and what it has come to mean. Agre defined CTP as a situational, practical, and constructive way of working: 'a technical practice for which critical reflection upon the practice is part of the practice itself' (1997a: XII). Communities of practice in which the notion has been adopted, adapted, and put to use range from human–computer interaction (HCI) to media art and pedagogy, from science and technology studies (STS) and computer-supported cooperative work (CSCW) to digital humanities, media studies and data studies. This special issue affirms the pluralisation of CTP, and serves as an invitation to (re)consider what it means to use this notion drawing on a wider body of work, including beyond Agre. In this introduction, we review and discuss CTPs according to (1) Agre, (2) indexed research, and (3) contributors to this special issue. We conclude with some questions and considerations for those interested in working with this notion. [ABSTRACT FROM AUTHOR]