Media Art Technology

numediart is a long-term research program centered on Digital Media Arts. Its main goal is to foster the development of new media technologies through digital performances and installations, in connection with local companies and artists.

numediart is organized around three major R&D themes:
HyFORGE - Hypermedia Navigation: Information indexing and retrieval rely classically on constrained
languages to automatically describe contents and allow formulating queries, respectively.
This approach becomes hardly applicable for multimedia contents such as music or video because
of the disparity between computable low-level descriptors and desired high-level semantics - the
so-called semantic gap. Alternatively, HyFORGE investigates human-in-the-loop approaches and
innovative tools for structuring and searching multimedia contents. Along with audio and image
processing, HyFORGE builds up on self-organizing models to derive enhanced views of multimedia
collections and provide users with efficient browsing interfaces.

COMEDIA - Body & Media: COMEDIA is named from a French contraction between body and
media or stage director and media, which nicely sums up the main objective of this axis: giving to
bodies the means to be their own artistic director! Hence based on position on stage or choreography
between multiple artists for the inter-relationship and gestures or voice for the intra-relationship, COMEDIA
aims at creating interactivity between performing artists and the multimedia context around.
Event description, low-level feature analysis, pattern recognition, heterogeneous sensor fusion, robustness
against lighting and real-time are our keywords in 1D, 2D and 3D signal processing to reach
these goals.

COPI - Digital Instruments Design: COPI aims at developing a software/hardware toolbox for creating
innovative digital musical instruments, from scratch or by augmenting existing instruments
with new interactive channels. The main challenges for this R&D axis are to produce expressive
instruments which maintain a close, embodied relationship with the musician. Our approach is to
produce new sound design architectures using a large database of pre-recorded signals while maintaining
real-time control of the design process. Our scientific work therefore implies three main axes:
the development of expressive production models (audio signal processing), followed by the design
of gestural control systems for their synthesis parameters, coupled with statistical modeling of this
dynamic control.

This bibliographic article gives an Introduction to the field of media aesthetics, refers to General Overviews, Journals, and Book Series. It outlines the Background for media aesthetics in terms of History and Theory, explicates Basic Concepts, such as the media aesthetic conceptions of Media and Aesthetics, and presents a map of a variety of media aesthetic Research Interests, such as Media as Environment, Media as Embodied Experience, Media as Matter, Histories of Media Technologies, and Media as System.

The very first introductory paragraph is available here: Media aesthetics is an interdisciplinary arena for research on media technologies, aesthetics (sense perception), and mediation. It does not belong to any one discipline, but is rather a set of perspectives that may inscribe themselves into a great number of disciplines and has done so most notably in media studies, art history, film studies, and to a certain extent, comparative literature and humanistic informatics, as well. Media aesthetics grew out of earlier attempts at theorizing about the reciprocal relations between aesthetics, technology, and media, such as media philosophy (Friedrich Kittler), media ecology (Marshall McLuhan), medium theory (Joshua Meyrowitz), mediology (Régis Debray), and critical theory (most notably Walter Benjamin), and is influenced by current, aesthetic theories of what has been termed new media (Mark Hansen) and visual culture (W. J. T. Mitchell). Media aesthetics emphasizes the importance of understanding sensuous perception as culturally and historically situated and insists on the continuity between so-called old and new media. Media aesthetics ties into what has been called digital humanities and seeks to take into account the high levels of technological mediation of the world today. By redirecting our attention to material and physical practices it also shares some ideas with the largely German tradition of cultural techniques. Media aesthetics also has overlapping interests with the emergence of new materialism (Karen Barad, Rosi Braidotti) and seeks to contribute to rethinking the relationship of science and the humanities, approaching the questions of the two cultures through studies of visualization in science and everyday life as well as through studies of the visual arts in relation to the physical and biological sciences. The field of media aesthetics is multidisciplinary and heterogeneous. Consequently, an overview of media aesthetics cannot be limited to academic works where this term has explicitly been used. It is important to recognize work that shares the same research interests even though their authors may have used other terms and the works also can be sorted into areas with overlapping ideas and interests.

Özet
İnsan doğduğu andan itibaren süregelen yıllarda teknoloji ile etkileşim içinde olmuş kendini teknolojinin bir parçası haline getirmesine ve teknolojiye uyum göstererek yaşamasına zemin hazırlamıştır. Çağlar boyunca değiştirme, dönüştürme, yapma, etme ve icat etme ile meşguliyetinin sonucu olarak insan her çağın gereklerine göre bir değişim göstermiştir. İnsan toplumla etkileşimine ve gereksinimlerine yönelik bağı merkez alan bir sosyalite geliştirir. Bu bağlamın ana karakter yapılanmasını da kültür oluşturur. Doğal olarak, insanın tüm biçimlendirme süreçlerini ve eylem yönelimlerini içeren bir teknolojik kapsam ile kültürün organik bağı da ortaya çıkmış olmaktadır. Teknoloji kültürü hem insanı tanımlamanın hem insana ait çevrenin çözümlenmesinin hem de varlık olarak yaşamsal gayesinin bir belirtisi olabilmektedir. Teknolojinin, kültürün her alanında önemli bir rol oynadığı toplumsal yaşamın çoğu alanında gözlemlenmektedir. Her yeni teknolojik gelişme ve bu teknolojinin topluma yayılması ile kültürün bu araçlar tarafından yönlendirilmesi sonucu teknoloji eksenli kültür günlük yaşam deneyimlerimizi yönetmeye kadar ilerlemiş bir tabu olabilmektedir. Teknolojiyi kullandığımız sürece toplumda var olabilmek, fark edilebilmek ve etkileşime geçilebilmek gibi çok çeşitli değişiklikler yaşanmaya başlanmıştır. Teknoloji kültürünün içinde sanatı incelediğimizde, her dönem teknoloji ile etkileşim içinde olmuştur. Bilgisayar teknolojilerinin gelişmesi ile dijital çağa adım atmış, sanatın olanakları neredeyse bizlere sonsuz seçenek sunmuştur. Bu noktada teknoloji sanatın imkânlarını genişlettikçe sanatçılar kendilerini ifade edecekleri farklı tavırlara yönelebilmektedirler. Teknoloji kültürünün içinde sanatın farklı disiplinlerini kullanıp kalıcı olma ve estetik algı çatışmasına girebilmektedirler. Video ve bilgisayar gibi elektronik araçlar eski temsil şekillerine meydan okumaktadır. "Bilgisayarlar sanat olabilir mi?" düşüncesinin ötesine gidebilmek için bazı ortak eleştirel kelime haznesinin oluşmasına ihtiyaç olabilmektedir. Bu bağlamda yeni teknolojik akımın sanata ve sanatçıya sunduğu yöntemleri inceleyip irdelemek ve anlamak gerekmektedir. İnsanlık tarihi kadar eski olan teknolojiden her dönemin sanatçıları eserlerini üretirken kendi döneminin bilim ve teknolojisinden yararlanmış ve bu etkileşimi üst düzey kullanabilen sanatçılar kalıcı olmayı başarabilmişlerdir. Bilgisayar teknolojilerinin gelişmesi ile sanatçılar dijital çağa adım atmış, sanatın olanakları bizlere sonsuz seçenek sunmuştur. Sanatçı kuralların kalktığı bir sanat anlayışı ile klasik sanat estetik algısının arasında kalmaktadır. Bu bildiride sanatçının izleyiciye sunduğu eserden beklenen/ beklenmeyen doyumu, kalıcı olabilme endişesi ekseninde dünyada ve Türkiye'de sanatçıların tutum ve tavırları incelenmiştir. Teknolojinin etkisiyle yeni sanat alanlarının dikkat çekicilik, akılda kalıcılık, geniş kitlelere daha kolay ulaşılabilirlik ve ekonomiklik açısından analizi ve sanatçıya olan etkilerinin incelenmesi ve çözüm odaklı tespitlerin yapılması amaçlanmıştır.

Abstract
From the time of human birth, through years of interaction with technology, it has made itself a part of technology and has set the ground for life by adapting to technology. Throughout the ages, as a result of busy, transforming, making, and inventing, man has shown a change according to the needs of every age. It develops a sociality centered on the connection to human society and its needs. Culture is also the main character structure of this context. Naturally, a technological context involving all the shaping processes and action orientations of the human being and the culturally related organic relationship have also emerged. Technology culture can be a symptom of both the identification of human beings, the resolution of human beings' surroundings and the existence of life as being. Technology is observed in most areas of social life in which the cul- ture plays an important role in all aspects. With every new technological development and the spread of this technology, cult culture is guided by these tools, technology-driven culture can become an advanced taboo to direct our daily life experiences. As long as we use technology, there have been various changes such as being able to exist in society, to be recognized and to be able to interact. When we studied art in technology culture, we were interacting with technology every semester. With the development of computer technology, the digital age has stepped in, and the possibilities of art have almost given us endless options. At this point, as technology expands the possibilities of art, artists are able to direct themselves to different attitudes that they express themselves. In technology culture, they use different disciplines of art to enter into the conflict of being permanent and aesthetic perception. Electronic devices such as video and computers challenge old forms of representation. "Could computers be art?" Some common critical vocabulary may need to be formed to go beyond thought. In this context, it is necessary to examine and analyze the methods that the new technological trend offers for art and artist.
The artists, who are as old as human history, are able to produce lasting works of artists of all periods and have benefited from the science and technology of their era and have been able to use this interaction at a high level. With the development of computer technology, artists stepped into the digital age and the possibilities of art offered us endless options. The artist stays between the concept of art and the sense of classical art aesthetics. In this report, the attitudes and attitudes of the artists in the world and in Turkey are investigated on the axis of the expectation / unexpected satisfaction from the work the artist presents to the audience, With the influence of technology, it is aimed to analyze the effects of the new art fields in terms of attractiveness, retention, ease of accessibility and economicality to large masses and to investigate the effects of the artists and to make solution-focused determinations.

Keywords : Technology, Technology Culture, Digital Art, Technology, Technology Culture, Digital Art

Establishing an archival strategy for digital artwork is key in preserving our digital heritage, safeguarding knowledge and stimulating future creative inquiry. NEoN (North East of North) uses a festival platform to disseminate its aim of promoting digital and technology-driven art. Through six years of festival activity NEoN holds many digital assets and valuable documentation of digital artworks. We are now investigating the importance of preservation, dissemination and legacy of these digital assets and considering the values and resources required to develop an archiving strategy. This chapter discusses the journey of that investigation and reflects upon the diverse approaches to archiving digital arts.

FINGERPRINT (Innovative Visual Data Management for Drawings and Prints) is an interdisciplinary project, involving art history, art technical research, digital imaging, image processing, conservation science and collection and data management. The aim is to use advanced digital imaging, statistical processing and laboratory analyses to monitor and evaluate the phases of the genesis of a print, from the unique preparatory drawings through proof impressions to later states and editions. Up to now art historical research on prints and drawings has depended for the most part on traditional art historical methods based on observation with the naked eye and on the subjective memory and knowledge of connoisseurs. The main goal of this project is to develop tools to automatically perform an objective artefact analysis and software to visualize, compare and order large quantities of complex visual and material data. With the 450 year anniversary of the passing of Pieter Bruegel the Elder in 2019, the project focus on the known corpus of drawings and prints by the artist.

Este trabalho analisa o conceito de commons digital, originado no campo da cibercultura, no contexto de ações artísticas produzidas nos últimos anos na cidade de São Paulo. Valendome principalmente das teorias de Antonio Negri, Nicolas Bourriaud, Guy Debord e Gilles Lipovetsky, parto da retomada do “comum” como valor intrínseco à sociedade informacional, sigo com sua análise nos campos da arte pública e artemídia para, enfim, classificar cinco aspectos das poéticas do comum (p. 118), a partir de três modelos de casos: BaixoCentro (2012), Pimp My Carroça (2012) e Piscina no Minhocão (2014). Por fim, apresento os primeiros resultados da ação Terrenos Apaixonantemente Objetivos, que aplica a ideia do comum à deriva situacionista, e detalho a concepção e desenvolvimento do Derivoscópio, obra integrante da ação, um aparato vestível construído com hardware e software livres.

Establishing an archival strategy for digital artwork is key in preserving our digital heritage, safeguarding knowledge and stimulating future creative inquiry. NEoN (North East of North) uses a festival platform to disseminate its aim of promoting digital and technology-driven art. Through six years of festival activity NEoN holds many digital assets and valuable documentation of digital artworks. We are now investigating the importance of preservation, dissemination and legacy of these digital assets and considering the values and resources required to develop an archiving strategy. This chapter discusses the journey of that investigation and reflects upon the diverse approaches to archiving digital arts.