Interactive Art

With the fusion in the world of art and science, technology has made a dent in the course of art, and there is now a time and place for those actively interested in both the academics of art and science like never before. Interactive art is one of the current trends that can be seen from this group of creative minds. The incorporation of code into forms of visual art helps create a dialogue between the artwork and the audience. We describe the use of the Processing coding toolkit along with other methods for digital artists to create innovative interactive artworks. By furthering the application of this intriguing art form, we can surely gain benefits in a wide range of fields, such as promotional purposes or any way in creatively expressing a figure.

The Digital Boundaries exhibition includes works that use multimedia to address issues of multiculturalism, identity, and awareness. By placing technology in new contexts to explore multimedia's impact on culture (and vice versa) we create a space for the discussion of new ideas and create an interdisciplinary impact by reinforcing a dialogue between the arts and multimedia communities. We discuss our motivation, the exhibition theme, the works selected, and their potential technical impact.

This article discusses the relationships between interactive installations and ethics by describing a perspective that emphasizes the function of an artwork rather than its medium or genre. The text proposes that aesthetic judgements function as mechanisms for promoting specific concepts, people and social institutions, and that these promotions occur with or without a person’s awareness.

Leif Kramp untersucht erstmals umfassend die Gedächtnisrelevanz des Massenmediums Fernsehen sowie den archivischen und musealen Umgang mit der Fernsehgeschichte. Anknüpfend an die interdisziplinären Zweige der Gedächtnisforschung analysiert der erste Band die Bedeutung des Fernsehens seit Beginn des regelmäßigen Programmbetriebs in Deutschland und Nordamerika unter gedächtnistheoretischer Perspektive. Damit legt dieser Band den Grund für eine differenzierte Bewertung des Fernsehens als Medium des Erinnerns und Vergessens. Auf Basis einer breiten empirischen Erhebung bei zahlreichen Institutionen in Deutschland, Kanada und den USA befasst sich der zweite Band mit dem Status Quo und den Perspektiven der Verwaltung und Nutzung von Überlieferungen aus der Fernsehgeschichte. Kramp analysiert die maßgeblichen Problemstellungen, mit denen sich Museen und Archive konfrontiert sehen: von Fragen der Auswahl, Bewahrung und Zugänglichkeit von Fernsehüberlieferungen bis hin zu ihrer Präsentation und dem Medienwandel, und diskutiert Strategien für die Arbeit von Fernsehmuseen im digitalen Medienzeitalter.

ParticipART is an initiative aimed at exploring participation in interactive works using ubiquitous computing and mixed reality. It supports and analyses work of artists and creative practitioners incorporating or reflecting on participatory processes to support new roles and forms of engagement for art participants. We aim at proposing a space for discussion that can enliven and enrich the dialogue between human-computer interaction and the creative practices. We present several works that have been exhibited and experienced. The works are used to reflect on the different participative strategies and the role of interaction technologies: enabling authorship, affording connectivity, interacting with artificial beings, reinterpreting the visitor world, and engaging in performative acts.

Human communication is fostered in environments of regional communities and cultures and in different languages. Cultures are rooted in their unique histories. Communication media have been developed to circulate these cultural characteristics. The theme of our research is "Cultural Computing", which means the translation of cultures using scientific methods representing essential aspects of Japanese culture [1]. We study the reproduction of a traditional Japanese Haiku by computer. Our system can abstract an essence of human emotions and thoughts into a Haiku, a Japanese minimal poem form. A user chooses arbitrary phrases from a chapter of the essay "1000 Books and 1000 Nights" . Using the phrases chosen by the user, our system generates the Haiku which includes the essence of these words.

It has been commonly acknowledged that the acceptance of a product depends on both its utilitarian and non-utilitarian properties. The non-utilitarian properties can elicit generally pleasurable and particularly playful experiences in the product's users. Product design needs to improve the support of playful experiences in order to fit in with the users' multi-faceted needs. However, designing for fun and pleasure is not an easy task, and there is an urgent need in user experience research and design practices to better understand the role of playfulness in overall user experience of the product. In this paper, we present an initial framework of playful experiences which are derived from studies in interactive art and videogames. We conducted a user study to verify that these experiences are valid. We interviewed 13 videogame players about their experiences with games and what triggers these experiences. The results indicate that the players are experiencing the videogames in many different ways which can be categorized using the framework. We propose that the framework could help the design of interactive products from an experience point of view and make them more engaging, attractive, and most importantly, more playful for the users.

This article reviews research into why people watch television. Christensen (2003) proposes businesses are best understood by looking at the way they help people address their jobs-to-be-done. If new forms of television are more likely to succeed to the extent that they do the jobs now done by traditional television; then to understand how people will use future forms of TV, we must understand how viewers use traditional TV.

The PhD dissertation Cyberpunk and New Media Art: Digital Art and Performance aims to examine the literary and visual legacy of the Cyberpunk movement and to explore its ideas, concepts and methodologies in the context of New Media artistic practices. The goal of this work is to comment on a multidisciplinary level on the influence of Cyberpunk theory and aesthetics. Furthermore, it seeks to identify its practice in the construction of the creative mechanisms of contemporary digital art and media performance.
The Cyberpunk phenomenon is approached through the definition of its socio- historical, philosophical and aesthetic context as a science fiction genre. Likewise, New Media Art is defined through the characteristics of its language, its precursors, its pioneers and the state of the digital art currents. By focusing on the terminology and the creative expression of Cyberpunk and Media Art, this thesis sets off to examine the artistic results that emerge from their union. Special emphasis is given to the fields of virtual technologies, technology and mythology and the body as a technologically enhanced interface.

El fenómeno de asimilación e interacción entre televisión e internet está creciendo de forma significativa en los últimos años. Eso se está traduciendo en un impulso en la penetración de la televisión conectada e híbrida, hasta el punto de la irrupción en escena del estándar HbbTV (Hybrid Broadcast and Broadband TV). En este artículo analizamos las claves de este estándar y realizamos un estudio cuantitativo sobre sus implicaciones en la audiencia, en términos de calidad de contenidos, sinergias internet-televisión-redes sociales, inclusión de publicidad interactiva y otros parámetros del nuevo escenario.

This dissertation aims to understand in detail the relationship between play and the sense-making process in interactive art encounters. It argues that play and the ludic character observed in such encounters are fundamental dimensions, which predominate in many interactive art experiences. From this perspective, we propose to examine in depth the type and nature of play but also to understand how its emergence affects the symbolic understanding of the experience.
Moreover, it argues that despite the emphasis on the bodily, sensorial and performative, interactive artworks still hold a sense that needs to be interpreted by participants. As such, our analysis aims to verify if play, operationality and bodily performance override the symbolic dimensions of the encounter or if, instead, there is still a space for detached reflection about our lived and felt experience.
To accomplish this task an interpretative phenomenological method was applied to examine the reception of three different artworks in natural settings. This method was prepared and adapted according to each interactive artwork. Furthermore, by reviving the concept of psychical distance developed by Edward Bullough, we examine the concept of aesthetic distance in interactive arts, refining this discussion with the data provided by our qualitative analysis.

FR ~ Expérience et Signification dans les Arts Interactifs  / Influence du Jeu libre et Distance Esthétique dans les Expériences Interactives


Cette dissertation vise à comprendre en détail la relation entre jeu libre (free-play) et construction de sens dans les expériences esthétiques interactives. Nous soutenons ici que le jeu et le caractère ludique que nous observons sont des aspects fondamentaux et prédominants dans la plupart de ces expériences interactives.
Nous nous proposons donc d’analyser en profondeur la nature du jeu déclenché par ces expériences, mais aussi de comprendre son influence sur la compréhension symbolique de l’expérience.
Malgré l’accent mis sur les aspects corporels, sensoriels et performatifs, nous défendons l’idée que les œuvres interactives portent un sens qui doit être interprété par les participants. Dans cette perspective, notre analyse cherche plus spécifiquement à vérifier si le jeu-libre, les opérations techniques et la performance corporelle surpassent les dimensions symboliques de l’expérience ou si, au contraire, il y a encore la place pour une réflexion sur le vécu et le ressenti.
Afin de développer cette recherche nous avons utilisé une méthodologie IPA (Analyse Interprétative Phénoménologique) pour examiner la réception de trois installations interactives auprès des participants. Cette méthodologie était préparée et adaptée en fonction de chaque œuvre interactive.
Enfin, en ranimant le concept de distance mentale développé par Edward Bullough, nous examinons le concept de distance esthétique dans les arts interactifs, affinant cette discussion grâce aux données récoltées lors de notre analyse qualitative.

PT ~ Experiência e Construção de Significado nas Artes Interactivas / A Influência do Jogo livre e Distância Estética nas Experiências Interactivas


Esta dissertação procura compreender e descrever detalhadamente a relação entre jogo livre e o processo de criação de significado na recepção de obras de arte interactivas. Argumenta-se que o jogo e o carácter lúdico observados durante este tipo de recepção artística predominam em muitas destas experiências interactivas. Nesta perspectiva, propõe-se examinar aprofundadamente a natureza e o tipo de jogo que surgem destas interações mas também compreender como é que a sua emergência afecta a compreensão simbólica da experiência.
Argumenta-se ainda que apesar da enfâse dada à redescoberta do corpo e dos sentidos, à performance corporal e a outros aspectos da ação fomentados por este tipo de experiências, estas também encerram significados que requerem uma interpretação por parte dos participantes. Como tal, esta análise procura verificar se o jogo, a performance corporal e as operações necessárias para ativar a experiência se sobrepõem à dimensão simbólica do encontro ou se por outro lado, ainda existe “espaço” para uma reflecção distanciada sobre a experiência vivida e sentida.
Para realizar este estudo desenvolveu-se um método IPA (Interpretative Phenomenological Analysis) para examinar a recepção de três obras interactivas em condições naturais. Além disso, através da revisão do conceito psychical distance desenvolvido por Edward Bullough, analisou-se o conceito de distância estética aplicado às artes interactivas. Esta discussão foi refinada e enriquecida através dos dados provenientes das análises qualitativas.

This paper proposes the use of single frequency networks -SFN as a mechanism to aid the expansion of the relay service for digital television, as well as address issues of possible shadow areas of coverage and provide a better environment for reception in mobile television. Will be presented in this paper the characteristics of the technologies used in the Brazilian system of digital terrestrial television (SBTVD-T) as well as its advantages over the rational use of the radio spectrum compared to analog television system. Will be demonstrated by current methods used for the feasibility of digital TV channels and its insertion within the basic distribution channel of National Agency of Telecommunications (ANATEL). It will examine the concepts and details of operation of single frequency networks, applied to broadcasting. In this work, finally, we present a study of radio frequency coverage prediction using the simulation software PATHLOSS 05 to troubleshoot the shadow areas using digital TV relay stations, strategically positioned, integrated in a SFN network.

This short course introduces the interactive digital TV services and applications development. The main concepts around interactive digital TV, and the technology overview, are showed. It encloses since datacasting concepts until the applications development tools.

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories.
The second edition for the Book on Demand (Lulu.com, 2020) includes an update of chapter II.1.1 (first edition 2014, see above in "Papers" the PDF of the HTML version).
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Özet

Antik Yunan’da ilham perilerinin tapınağından ismini alan müzeler, binlerce yıllık geçmişe sahip bir oluşumdur. Bu oluşum, canlı varlık gibi fiziksel ve içeriksel değişimler ile kapsamlarını genişleterek günümüze kadar gelmiştir. Farklı türde ve şekillerdeki müze kollarından biri, “panorama müzeleri” olmuştur. 360 derecelik kesintisiz resim sanatı olan panorama sanatı; gezici çadırlardan müzelere taşınarak, dairesel formu ile müzelerde biçim ve içerik hakimiyeti kurmuştur. Savaş, kent ve doğa sahnelerini barındıran panorama sanatının bulunduğu panorama müzeleri, üçboyutlu anlatım teknikleri ile bulunduğu yüzyıllarda ziyaretçileri etkilemiştir.

Günümüzde görsel sanatın ve üç boyutlu anlatım tekniklerinin önemli araçlarından biri haline gelen teknoloji ise, müzeler gibi, Antik Yunan’a uzanan köklü geçmişe sahiptir. İnsana yardımcı olabilecek teknikler, uygulamalar anlamından türeyen “teknoloji”, bilim ve sanat arasında bir köprü olmuştur. Günümüzde bu varoluş, çağdaş sanatın sergilemelerinde yer almaktadır. Bu bağlamda müzelerde üçboyutlu anlatım tekniklerini geliştirmek ve geleceğe panorama sanatını taşımak, teknoloji ile mümkündür.

Sadece panoramaları değil, bütün müze kabuğunu kapsayan sergileme teknolojileri ile günümüz çağdaş müzeleri; üst seviyeye taşınabilir. Bu bağlamda Bursa’nın yeni çağdaş müzesi olan “Panorama 1326 Müze ve Etkileşim Merkezi” seçilerek, araştırmalar ve incelemeler ışığında müzeye bir öneri modeli sunulmuştur. Bu öneri modeli; çağdaş müzecilik prensipleri doğrultusunda arttırılacak katılımcılık ile ziyaretçiye eğlence, eğitim ve keşif gibi birçok durum katmaya yöneliktir. Dünyada uygulanan sergileme teknolojileri ve sistem gereksinimleri göz önüne alınarak hazırlanan model; çağdaş müzecilik prensiplerini benimseyen diğer müzeleri de kapsamaktadır. Her geçen gün gelişen ve değişen 21. yüzyılın Teknoloji ve Bilgi Çağı’nda, bu akademik çalışma; müzecilik literatürüne, müze mimarisine ve çağdaş sergilemelere yeni bir vizyon ve tasarım algısı getirmeyi hedeflemiştir.

Anahtar Kelimeler: Çağdaş müzecilik, panorama müzeleri, sergileme, teknoloji

Abstract

Museums that named from the temples of muses in Ancient Greece are creations of thousands of years. This creation is extending their scope with physical and contextual changes, just like living creature. One of them is panoroma museum. Known as 360 degree continuous visual art, panoroma art became dominant in aspects of style and content with its circular form. Panoroma museums that hosts panoroma art consisting of war, city and nature scenes, has impressed visitors with its three dimensional expression techniques.

Nowadays, technology has become tool of visual art and three dimensional expression techniques. Technology comes from the meaning of the techniques and practices that helps humanity, acts as a bridge between science and art. At the present time, this existence takes place as applications in modern art exhibitions. In that regard, it is possible to develop the three dimesional expression techniques and carrying the panoroma art to future with technology.

Contemporary museums can be taken to next level with the help of museum exhibition technologies that covers not only panoromas but also the whole museum shell. In this regard, “Panoroma 1326 Museum and Interplay Center”, has been selected and given a suggestion model in consideration of studies and analysises. The suggested model is aimed at offering fun, education and discovery for the visitors with principles of contemporary museology. True adaption that is prepared taking the exhibitions in the world and system requirements into account. These thesis aims to bring a new perspective to museum litarature, museum architecture and exhibitions.

Key words: Contemporary museology, exhibition, panorama museum, technology

An interactive artwork takes on the shape of an event. An artist does not make a final, completed piece of art, instead produces an area of activity for the receivers, whose interactive actions bring to life an artwork-event. Regardless of what shape the final product of an artist's activity takes on, an interactive artwork finds its final formation only as a result of participative behavior of the viewers. The latter ones in that way become participants, performers, executors, or (co)creators of an artwork-event. What I consider the basic area of research in interactive art are the strategies organizing fields of activity for the receivers-participants. They can be understood as scores that project the interactive behavior of the receivers. The typology I put forward in this essay distinguish eight strategies of interactive art: strategy of instrument, game, archives, labyrinth, rhizome, system, network, and spectacle. The analysis of individual strategies reveals that all the common elements that occur there and characterizing an interactive experience en globe are organized differently each time. These elements are interface, interactions, data (database), data organization (hypertext, cybertext), software/hardware system, relations among participants, and performance/spectacle. In every strategy, a different factor takes a position superior to others and plays the basic role in the process of organizing interactive activities of the receivers. This means that it is not the occurrence within the frames of individual strategies of elements that are different each time, but their organization and hierarchy different each time that play a decisive role in providing strategies with their specific character. Discussing all strategies I shall distinguish their basic characteristic features but also pay attention to their range and variety of their forms observed so far. The latter aim I shall realize by pointing out to various actual examples of artistic usage of particular strategies.

Öz
Bu araştırmada, Lev Manovich'in yeni medya yaklaşımından yola çıkarak, yeni medyanın özellikleri olarak tanımladığı görsel atomizm, montaj, tipografi ve yeni bakış kavramlarının görsel sanatlar ve sinema alanında göstergeleri ve açılımları karşılaştırmalı olarak incelenmektedir. Manovich'in 1920'lerin avangard tekniklerinin 20. yüzyılda modern toplumların bilgisayar arayüzleri ve yazılımlarına dönüştüğü iddiası temelinde, yeni bir kültürel form olarak yeni medyanın 1990'larda genel görünümleri görsel sanatlar ve sinema alanından örneklerle analiz edilerek, 21. yüzyıl 'post-truth' çağında yeni medyanın sanatın içinde nasıl yer aldığı, hangi niteliklere sahip olduğu ya da yeni medya sanatının hangi alt kategorilere açımlandığı örnekleme alınan çalışmalar yoluyla incelenmektedir. Bu araştırmanın amacı, başlangıcından günümüze kadar teknolojik gelişmenin ve bilgisayar tabanlı teknolojilerin sanatın içine nasıl nüfuz ettiğinin, nerede sanatı manipule ettiğinin ve en sonunda hangi toplumlarda sanatın yönünü değiştirdiğinin örnekleme alınan sanatçı ve sanat eserleri yoluyla bütünsel olarak analizini yaparak değişen gerçeklik algısını ortaya koymaktır.
Abstract
In this research, Lev Manovich's approach to visual media and visual arts and cinematography of visual atomism, montage, typography and new perspectives, which are defined as features of new media, are examined comparatively. The post-truths of the 21st century were analyzed by analyzing Manovich's avant-garde techniques of the 1920s into computer interfaces and software of modern societies in the 20th century, by analyzing the general outlook of the new media in the 1990s with examples from visual arts and cinema as a new cultural form, in which the new media is included in art, what qualities it possesses, or in which subcategories of new media art are revealed. The purpose of this research is to reveal the changing perception of reality by analyzing technologically from the beginning to the end of the day, and analyzing how computer-based technologies penetrate art, manipulate art, and eventually change the direction of art in which societies.

"Grâce à une étude théorique des différentes conceptions de la narrativité en musique, et à travers l’adaptation de la pensée de Monika Fludernik pour une narratologie ‘naturelle’, nous souhaitons montrer que la narrativité de la musique ne se limite pas aux « contours d’une narration » comme le propose Nattiez, mais existe dès lors qu’il y a expérientialité d’un être anthropomorphe. Toujours à la suite de Fludernik, nous proposons l’idée que la narrativité n’est pas une caractéristique immanente à une œuvre, mais lui est imposée par l’auditeur via un processus de narrativisation. Nous développons alors un modèle théorique de la réception et de la narrativisation de la musique électroacoustique, que nous évaluons grâce à une expérience d’écoute organisée d’un extrait de Journey into Space (1972) de Trevor Wishart, réalisée avec des participants experts et non-experts en musique électroacoustique. Nous souhaitons montrer que la voix et l’identification sonore tiennent une place très importante dans l’initiation des processus de narrativisation.

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Through a theoretical study of the diverse conceptions of narrativity in music, and via the adaptation of Monika Fludernik’s model for a ‘natural’ narratology, we aim to show that narrativity in music is not limited to the « contours of a narrative » as Nattiez suggests, but exists as soon as there is experientiality of an anthropomorphic being. Still following Fludernik, we discuss narrativity not as an immanent characteristic of a work, but as being imposed on the work by the listener through a process of narrativization. We then develop a theoretical model for the reception and narrativization of electroacoustic music, which we evaluate with an organized listening experiment around a sample from Trevor Wishart’s Journey into Space (1972), comparing expert and non-expert subjects. We wish to put forward that voice and sonic identification hold a very important status in the initiation of narrativization processes.

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An artist cannot work without material. Everything, including
immaterial resources such as time, can be material I use to
form things.—Franz Erhard Walther, “Material." This chapter thinks about a selection of Walther's works from his intricate series Werksatz. Walther conceived of fabric objects—Werkstücke —as a starting point for actions performed by a viewer-participant. Often in a limited color palette, Walther’s Werkstücke are designed to develop a volume, that is, three-dimensional forms. But the definition of what his works are remains fluid, posing intriguing dilemmas for museums and conservators. Not exclusively objects and not entirely performances (a notion Walther has dismissed by saying “I never did performances”), his works elude any stable definition. Over the years, Walther has referred to these artworks as “instruments” (implements) or “sculptures,” implying not only distinct
formal concepts but also ontologies. As instruments, his fabric objects appear to act as means to an end rather than ends in themselves. As autonomous sculptures, they are never inactive. Crucially, Walther conceives of his works as being completed in the mind of a viewer—a trope that connects
them to the preconceptual legacy of Fluxus artists. This essay slowly considers and dissects the vital materiality, lively power, and efficacy of Walther’s Werkstücke. I want to expose the challenges
involved in thinking about complex, heterogeneous works existing as assemblages of activated performances and active physical artifacts— starting points and remnants of performance. The short durational character of aspects of Walther’s works troubles the established museological discourse that relies on the enduring physicality of art; their objectual element upsets the notion that this art can and should be used, thereby generating copies that confound the idea of an authentic original by shifting between ontological categories and material formations.

Ev ery time the word metadesign is used, it causes even more confusion than the word design. The term seems vague, elusive. Semantically, the principal meaning of the Greek word meta-when used as a prefix is "change of place, order, or nature" . Historically, since the 1960s, the term metadesign has been used to focus on the possibilities of "designing the design"-possibilities that later, in the 1980s, were realized by using information technologies. In the last two decades, the idea of metadesign has appeared as both a theoretical issue and an operational methodology; however, it has always been an isolated concept, producing neither an established approach nor a coherent theory. The development of the notion of metadesign can be categorized as critical and reflexive thinking about the boundaries and scope of design, aimed at coping with the complexity of natural human interaction made tangible by technology. Metadesign seeks to transform this complexity into an opportunity for new forms of creativity and sociability. This text aims at tracing the development of the notion of metadesign and the multiplicity of its definitions by offering a map of correlated concepts and establishing the foundations of metadesign as a distinct and emergent design culture.

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Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

This article deals with the philosophical idea of worldmaking pursued through techné, meaning the fusion of the technical means of artistic creation, theorizing, and analysis, but specifically occurring in a feedback loop involving introspection and computation (cybernetic phenomenology). The discussion ranges over a wide variety of topics, including (1) the history of music theory from Ancient Greece to the present (including a rebuttal to Daniel Chua’s (2001) account of music history); (2) emergent properties in music arising from self-organization (explored through the Ancient Chinese abstract strategy board game go); (3) the ontology of musical qualities (properties) and categories (including their relation to visual, tactile, and olfactory qualities and categories). 
Various repertoires, artists, and philosophies are referenced. The essay analyzes aspects of Ligeti’s Violin Concerto, Carter’s String Quartet No. 5, and Lachenmann’s Kinderspiel.  Connections to the author’s own previous analytical and theoretical work are also discussed in relation to his interactive algorithmic audio-visual works (such as Fluxations and FluxNOISations). The techné of these is discussed in terms of logistics as well as aesthetic influences, including Wagner, Liszt, Stravinsky, Schoenberg, Crawford, Babbitt, Carter, Xenakis, Parker, Reich, Ligeti, Truax, Oliveros, Kandinsky, Miro, Pollock, Pollock, Hofmann, Rothko, Louis, Frankenthaler, Moholy-Nagy, Newman, Richter, and Brakhage.  The essay touches on philosophical ideas of Bergson, Whitehead, Deleuze, Harman, and Bogost, and more fully engages the philosophies of Nelson Goodman and Hannah Arendt in connection with artistic creation as relating to the theorizing and analysis of artistic works.     

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Video feedback systems have been largely discounted by media artists in favour of digital tools and code-based programming languages, which offer a more robust, data-driven approach to developing generative and interactive moving image works. Furthermore, art historians have generally failed to document and reflect on the practice of video feedback. However, video feedback systems have many qualities that can enrich current digital culture, whilst digital tools provide an opportunity for artists to revisit analogue feedback from a fresh perspective.

This thesis and accompanying portfolio reappraises the use of feedback systems in media art, and explores their application in combination with digital tools such as projection mapping software. Through practice-based research, analysis of contemporary media art works, and interviews with artists and curators, this thesis identifies and analyses the key technological and experiential properties of video feedback installations from the perspectives of both artist and audience.

The works produced proved to be extremely engaging for audiences. Comments from experts within the field suggest that key factors include the mesmerising elemental forms and textures of feedback, and the intuitive nature of the interface. One work (PORTALS) was also shortlisted for the Lumen Prize for Art and Technology.

Video feedback works still present unique problems: they are difficult to calibrate, often unpredictable or even unrepeatable. However, this thesis concludes that there are significant benefits in revisiting this 50 year old video art technique from a contemporary digital perspective. Digital video tools offer new ways to generate, calibrate, and present video feedback in various contexts. Conversely, the incorporation of optical or analogue feedback into digital systems can offer a simple method of generating complex textures and chaotic behaviour without the need for programming skills, as well as providing an extremely intuitive interface for audience interaction via the video camera. 

The thesis ends by suggesting that more research needs to be done to examine how feedback installations can be made more robust and scalable across a range of contexts from white cube galleries to light festivals.

Új utak a zene megközelítéséhez módszertani segédlet pedagógusoknak interaktív zenés foglalkozások szervezéséhez SZÉKELY CSILLA IMOLA "A kutatás a TÁMOP 4.2.4.A/1-11-1-2012-0001 azonosító számú Nemzeti Kiválóság Program-Hazai hallgatói, illetve kutatói személyi támogatást biztosító rendszer kidolgozása és működtetése konvergencia program című kiemelt projekt keretében zajlott. A projekt az Európai Unió támogatásával, az Európai Szociális Alap társfinanszírozásával valósul meg." 2014

This PhD research project builds on thirteen years of enquiries as an academic practitioner, developing/critiquing interactive audio-visuals. This approach interweaves theory and practice so that both build on each other. It responds to the need for principles that inter-relate people, digital technologies and environments. The concept of “responsive environments” (RE) is offered as a starting point for the development of principles focusing on people within these environments. A responsive environment is “responsive” in the sense that some form of computer technologies are present and sensing/recording/reacting to people, and an “environment” in the sense that these activities are located in a place and that that place matters in terms of setting the scene, housing the technology and providing a context for the users/visitors. Common themes were extracted from the literature review to draw together previous and, for the most part, separate attempts at theory/practice relating to RE. These themes were complemented by research into contemporaneous activities in the areas of Augmented Reality, Mixed Reality and Locative Media to provided enhancements to the development of three practice projects. These enhancements together with the incorporation of Moore and Anderson’s concepts of “patient”, “actor”, “reciprocator” and “referee” as roles available to those encountering REs led to specific research questions regarding roles, positions, opportunities for repurposing content, learning experiences, the use of sound, visuals and presence, and the assessment of values represented in and through a responsive environment. In each case these questions shift the emphasis of the research towards the experiencing of REs and what they enable rather than the technologies used only. The use of Schwartz and Halegoua’s concept of the “spatial self” further focuses attention of the value in connecting digital expression with real spaces through an RE. This has led to a proposed conceptual framework and principles of practice that can be applied in the area of study of RE to nurture opportunities for participants and protagonists. The latter term is proposed as a means of acknowledging opportunities to make content/concepts in an RE as well as obtain and use them by participation. These opportunities are supported by both synchronous and asynchronous interactions through digital layers using online social media platforms. These platforms enable the archiving of content in a digital layer and/or possibilities for continued social interaction through a digital social layer in relation to the responsive environment. The incorporation of synchronous and asynchronous interactions through digital layers is a major contribution to the concept of REs. A further contribution is the use of the pioneering work of Gordon Pask in both the practice and theory of cybernetics as informing the concept of REs. Pask provided a formulation that expressed how content/concepts could be produced through relationships between people, computers and environments. This approach has been mirrored in other disciplines thus giving additional credence to its value. This discovery provides the impetus for further research, by academic practitioners and others, in this developing area of study.

The assimilation and interaction between television and the Internet has grown significantly in recent years, boosting the penetration of the connected and hybrid television, until the HbbTV (Hybrid Broadcast Broadband TV) standard appeared. In this article we analyze the keys to this standard and make a quantitative study on its implications for the audience in terms of quality of contents, synergies between the Internet, television and social networks, inclusion of interactive advertising and other parameters of the new scenario.

Nam June Paik is mostly known as the father of video art. At the same time, he can also be regarded as a creative pioneer of interactive art. Unfortunately, most scholars and art historians still neglect Paik's remarkable achievement in interactive art with his musical background. Especially, Paik's experience with Musique Concrète was a core springboard to develop his interactive pieces. However, among Paik's artistic backgrounds Musique Concrète is hidden by well-known influences from John Cage, Karlheinz Stockhausen and Fluxus. Based on Musique Concrète, Paik created basic elements of interactive art such as database, non-linearity and sensorial translation at Paik's first solo show, Exposition of Music – Electronic Television, in 1963. These are still considered fundamental properties to make interactive pieces. In this regard, Paik as an interactive artist can be a significant contribution to finding an origin of interactive art since art theorists have started to explore its genealogy.

This thesis analyses the current relation between art and audience, focusing on the collective creativity in social media and the function of audience collaboration in the art zone. Attempting to define the act of artistic participation in social media and relocate it in contemporary art, I examine how collaboration in the development of an artwork becomes possible. This thesis accompanies exhibited artwork, which consists of a three-dimensional installation that procures generation of various stories by the rearranging of the flow of printed images of Instagram posts. I also aim to achieve a relational aesthetic by considering those "Instagram friends" as coworkers of a collaborative work, which further undergoes a transformation through each viewer-participant's intervention in the gallery setting. Therefore, I assert that we have already been collaborating by creating and sharing through social media, and thus shaping the form of communication in the 21 st century.

Trevor Wishart is an electroacoustic composer who obtained his PhD at the University of York in 1973 . books On Sonic Art (1984 and 1996) and Audible Design (1994), which present his ideas about sound treatment, perception and composition. All of the theories and ideas I talk about here are related to my research as a graduate student in music and musicology, entitled Sound identification, listening strategy and narrativity in Trevor Wishart’s Journey into Space – Agentization, objectization and narrativizations (translated from the French: Identification sonore, stratégie d’écoute et narrativité dans Journey into Space de Trevor Wishart – Agentisation, objétisation et narrativisations). The present essay is mainly the transcription of an interview with Wishart himself, in which we talked about Journey into Space, sound identification (“landscape”), voice (both recorded and improvised), symbolism and narrativity. I will add some comments and ideas throughout the essay; these will deal with music and meaning, the main subject of JMM, as well as with my own research on electroacoustic narrativity.

I'm kind of a digital renaissance guy—composer, filmmaker, visual artist, designer, web/interactive creator, and writer. While I enjoy creating my work in those roles, I want to dissolve boundaries between these disciplines, reexamine conventions, and watch what happens when all the elements that make up digital culture mix and lyrically collide. How’s that work? ¶ In HYBRID FORMS AND SYNCRETIC HORIZONS, I explain how I take digitized media —music/ sound/ noise/ silence, still/ motion images, written/ spoken text — and fuse it (using interactive software) into new expressive forms, experimental performances, media objects, and events. While these hybrid forms exist outside established, recognized, familiar productions (films, books, games, concert music, etc), they often use ubiquitous technology (iPods, mobile devices; common software like Photoshop or Flash; the Internet) to realize ‘the syncretic moment’: my term for a meaningful unity of often disparate, even contradictory, materials and intensions. ¶ This book includes short essays, case studies of my own work, tutorials, and a visual framework for experimental approaches to digital media. — Joey Bargsten, author"

Mass media has always been a useful way for marketers to attract consumers towards their products. But since the market is highly differentiated today the term "target market" is used widely. TV being the highly used media for advertisements even in the 21st century is part of this research showing how the consumers in Pakistan show their attitude towards TV advertisement, Consumers of old age group and young age group are both equally important as both are increasing in number today worldwide and that has made many researchers to focus their studies on different age groups and their attitudes to evaluate the importance each group gives to how they perceive the advertising. Also the result is tested if the gender of the consumer changes the attitude. The findings indicate old age group of consumers are relatively more interested in TV ads as compared to the young generation and gender has little significance in one's attitude towards advertising.

Jacques Rancière’s concept of dissensus can be understood as an activity or process
that modifies or reorders the consensual operations of social, cultural, and economic
orders. The sensible is his concept of the common spaces and sites we occupy.
Dissensus creatively reimagines the possibilities for subjectivisation outside of
discipline specific entities and socio-political boundaries. The possibilities for
contemporary art to enact this have been recently addressed through relational and
socially engaged practices, but these have overlooked the potential of hybrid digital
forms like Machinima to explore the political potential of dissensus.

Rancière’s idea of dissensus will be reimagined in my digital art practice in light of art
critic Nicolas Bourriaud’s concept of the ‘social interstice’, a site where technology
and contemporary art can intersect to form transformative interstitial space in the
digital media sphere.

This practice-led project aims to creatively and critically research this gap in
knowledge and practice in order to develop new models for thinking about the political
possibilities of digital creative forms. The project creates multiple, interactive
Machinima art works that explore and expand ideas about authorial space and human
agency. It aims to develop an original practice-led methodology that represents a
synthesis of technology and the ‘social interstice’ in contemporary cultural forms.
Accordingly, the project’s creative and critical outcomes relate to a ‘techno-stice’,
which will form a unique contribution to digital and interdisciplinary research culture.
My practice-led project also seeks to demonstrate contemporary art’s contribution to
the creation of dissensual space, and new ethical perspectives in the digital realm.