ACM multimedia interactive art program

The present paper analyzes some effects caused on the fields of art and cultural production by the technologies loosely grouped under the rubric of new media.

2004

and the transformation of working individually on a project or being part of a specialized team. In academia, this collaborative approach is born from the need for every scholar to define new applications for development within their specialization. Secondly, the interdisciplinary approach fosters a new multitude of problems that incite exploration of multidimensional and often multidisciplinary solutions. US VS. THEM Although collaboration is the goal, often artists and programmers stray from each other's tools, techniques, and processes. Therefore, the debate begins. Here is an example of a typical artist vs. techie debate; What is better to use in web design, HTML hand coding, or WYSIWYG software such as Macromedia Dreamweaver? Is HTML hand coding better than writing the code transparently within an intuitive user interface? Does it truly matter? The result is the same-a web page. Why the debate? Well, we all want to think that our discipline and approach is a better solution. One main cause for tech vs. art is the natural inclination of the masses to view technology as simply a term for computers and peripherals. When in fact, the Greek word technikos means of art. The word technical is also defined as: of or relating to technique. In addition, the word also carries the meaning: having special knowledge of a mechanical or scientific subject. Technology is defined by Merriam Webster as: a manner of accomplishing a task using technical methods or knowledge. If the word technology is so scientific, where did it find its way into art? Billy Kluver, a Swedish-born engineer in the late 1950s became a chief catalyst for the art and technology movement in the 1960s. Kulver was a pioneering proponent in the marriage between art and technology. Inspired by Aristotle's notion of Techne-in which there was no differentiation between the practice of art and science. Kluver was a crucial conduit in interdisciplinary collaboration between artists and scientists. In a 1996 essay titled, "The Great Northwestern Power Failure," Kluver states, "The artists work is like that of a scientist. It is an investigation which may or may not yield meaningful results; in many cases we only know many years later." Kluver was a visionary who understood the value of technology as a gathering force in collaboration, not a obstacle. The work Kluver accomplished with Robert Rauschenberg in their founded group Experiments in Art and Technology (E.A.T.) was critical to today's interdisciplinary collaborations. E.A.T. encouraged artists and engineers in interdisciplinary technology-based art projects (Packer, 2001). viii SHARING WORDS Highly shared words throughout many disciplines, computer graphics and multimedia have become foundations for scholars to explore within their own contexts. The terms are found universally throughout many disciplines that bear no resemblance to each other in purpose, process, and output. It is appropriate that the digital scholar is to understand, embrace, and explore the countless tributaries of opportunity that exist within computer graphics and multimedia. Within concentration areas, there exists a mountain of terms that has an immeasurable amount of specialization and hybrids. Each one is important in the unique function of a particular problem. Engagement of unknown areas is critical to developing a true meaning for the word technology. BOOK ORGANIZATION This book has a diverse authorship that spans several disciplines, countries, and levels. Specifically, three main areas are focused on. Section I is Digital Design. Chapters in this section explore topics within digital design education, production, culture, and techniques. Section II is Computer Science. Chapters in this section provide extensive insight into computer science research topics including 4d visualization, virtual environments, graph aesthetics, and video indexing. Section III is Multimedia and New Media. This section contains chapters that cross boundaries between digital design and computer science. However, because the chapters engage multiple media and integrate interactivity in the discussion, they are classified as multimedia or new media chapters within this text. The topic areas include Macromedia Flash programming, digital asset alignment and management, analysis of digital audio, and machine vision in the arts. This diverse array of art, technology, and science all come together to make up a small piece of the vast subject we know as computer graphics and multimedia. One major goal of this text is to enable the reader to open their minds to the extensive journeys that can be taken exploring merely one specialization in computer graphics and multimedia. This book also hopes to encourage artists to understand and embrace collaboration in science and technology. And to encourage scientists, engineers, and techies to open the doors to collaborative interdisciplinary projects allowing scientists and artists to come together as hybrid technologists who share the same vision and principles towards problem solving, but do not share the same educational, experiential, and technical backgrounds. There are 12 chapters in this book. They are fairly divided between digital design, computer science, and multimedia/new media. Here is a brief description of each chapter's significance. x To the editorial staff: Initially I must thank the superb staff at Idea Group Inc. for their invaluable support throughout this process.

Online Submission, 2007

According to Information Technology science Multimedia is technologically speaking an integration of the Text, Picture, Sound and Speech within a surrounding-a Computer, which is extended in Multimedia system. Croatian scientist Dr. Fjodor Ružić thinks that Multimedia 'is not just a sum of information via different Media, but a logically shaped, organized and integrated group of mutually connected Media which create a Multimedia document'. 1 That`s the way Hypermedia documents are created as a logically assembled documents which use a certain communication, navigation space or a Net. Critique of the Technological Multimedia Newertheless, Multimedia in the world of Information Technology is considered as artistic mostly while reproducing Film and music, as well as using electronic (digital) picture in Video-art. The lack of high Art Education in the Informatic world is not justified by more intense usage of Computers in Design (CAD), nor the Virtual Cyberspace. Certain selfsufficiency of Technological Inteligence makes its Creativity and Cognition mostly on the level of a Child, and consequently Multimedia Art can be promoted by the higher education of Artists in the field of Technology. An example of positive effort in Croatia can be seen on National Television HRT in Dinko Cepak`s computer graphic design. (Eg.1 TV sequence «3 Plus».) Artistic aspect in Multimedia Art is cognitional and sensible synesthetic sum of several media (Picture, Music, Text, speech, as well as a movement in a space), not just logically

2019

commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than ACM must be honored. Abstracting with credit is permitted. To copy otherwise, to republish, to post on servers, or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from Publications Dept., ACM, Inc., fax +1 (212) 869-0481, or per m i s si o ns @a c m. or g .

1998

The term multimedia is often used for research into getting new media, like sound and video, into the computer. In recent years activities have escalated. Many new research and educational activities have been initiated, also in Scandinavia. The label multimedia has been broadened to include research in, e.g. video-conferencing, hypermedia, CSCW, virtual reality, robotics, and digital theater. Accordingly, the field is opening for many new and exciting interdisciplinary challenges. We propose that the IS community could get an important role in engaging in reconceptualisation of computer artifacts from the perspective of use. We should focus on concerns for advances in interaction technology, new domains beyond work, new ways of working in interdisciplinary teams, and new ways of working with users who are not established in a well-defined work setting.

International Journal of Social Science And Human Research, 2023

The current research paper aims to examine the impact of adopting technology in implementing art exhibitions and museums, and explore certain aspects regarding the media art exhibition titled 'Von der Schönheit der Begegnung-Medienkunst als lebendige Gegenwart' (Eng. 'The Beauty of the Encounter-Media Art as a Living Present'). Particularly, the study seeks to identify the technical challenges, determinants, and difficulties faced by the implementation group members; and several findings and lessons learned were reported by the current study.

For this edition, CAC has chosen Mexico to call administrators, artists, authors, creators, distributors, instructors, inventors, managers, producers, researchers and technologists, concerned by those emerging artistic and technological forms, contributing, collaborating and exchanging their artworks, experiences, know-how, knowledge and visions on the digital sense.

1999

2002

We combine previously unrelated requirements and approaches for an online support of classes for graphics and vision. ACM Computing Curriculum provides the contents guidelines, TU Graz fundamental lecture on Graphics and Visual Computing implements the lecture notes, with frequent hyperlinks into the slides. Awarded applets at pg.netgraphics.sk offer the interactive experience. Algorithm animation, open problems and knowledge tests enhance the topics understanding and feedback. All the abovementioned main components represent the layers of a long term educational project. All the features will be presented or exemplified to the workshop audience either online or using videos. Besides addressing ethical issues in computer graphics curricula in the sense by Bannatyne et al., use of VR techniques and constructivistic approach by Wen-Tsai Su, we discuss the teaching experience from Japan, Slovakia, and Austria within the framework of global online set of refereed resources, as proposed in SIGCSE 2002 BOF on Computer Graphics by Steve Cunningham.

IVED) AN INTERACTIVE VIRTUAL EXHIBITION DESIGN IVED 1 U n i v e r s i t y f o r t h e C r e a t i v e A r t s -F a r n h a m T u t o r : P e t e r W a t e r s / M a t t C r i p p s M A I n t e r i o r D e s i g n F P G T M 0 9 8 : R e f l e c t i v e P r o j e c t 5 / 1 8 / 2 0 0 9 By: Nehal Almerbati 0806993