Transdisciplinary Digital Art (eBook)

Sound, Vision and the New Screen

Randy Adams, Steve Gibson, Stefan Müller Arisona (Autoren)

eBook Download: PDF

2008 | 1. Auflage
IX, 510 Seiten
Springer-Verlag
9783540794868 (ISBN)

Infos

This volume collects selected papers from the past two instances of Digital Art Weeks (Zurich, Switzerland) and Interactive Futures (Victoria, BC, Canada), two parallel festivals of digital media art. The work represented in Transdisciplinary Digital Art is a confirmation of the vitality and breadth of the digital arts. Collecting essays that broadly encompass the digital arts, Transdisciplinary Digital Art gives a clear overview of the on-going strength of scientific, philosophical, aesthetic and artistic research that makes digital art perhaps the defining medium of the 21st Century.

Inhalt

Preface 5
Table of Contents 7
Introduction: Why Transdisciplinary Digital Art? 10
Why Transdisciplinary Digital Art? 10
Why Digital Art? 11
ANote on {/it Digital Art} Weeks and {/it Interactive} Futures 11
Part I Philosophies of the Digital 12
The Ethics of Aesthetics 14
Introduction 14
Aesthetics 14
The Process of Aesthetic Judgement 15
Influences of Aesthetic Judgements 16
Aesthetics and Ethics 17
Aesthetics and Attitudes 18
Aesthetic Judgements and Entities 19
Promotion 20
Media Subterfuges 20
Conclusion 21
References 22
Ethical and Activist Considerations of the Technological Artwork 24
References 33
DIY: The Militant Embrace of Technology 35
References 41
Tuning in Rorschach Maps 42
Introduction 43
Mapping 44
ReMapping 45
Graphing Maps 47
Impossible Graphing and Mapping: 48
Rhizomic Structures 49
Collective Images 51
Conclusion: Tuning 51
References 54
Body Degree Zero Anatomy of an Interactive Performance 55
Which of My Selves? 55
Mimesis and Distanciation 56
The Einstein's Brain Project 57
Body Degree Zero 58
The Performance 62
Pattern Recognition 64
Conclusion 66
The HyperMorphic and the TransOrganic 67
Artificial, Natural, Historical Acoustic Ambiguities in Documentary Film 69
The Authentic Source 69
Natural and Artificial 71
The Sound of Home 72
Sound and Formalism 74
The Colour of Time (God Is a Lobster and Other Forbidden Bodies) 80
Behind the Screen: Installations from the Interactive Future 89
Overview 89
Fauna of Screens 90
First Iteration: Circumstantial Evidence 91
Second Iteration: Facebooks and Monkey-Cliques 93
Third Iteration: Babelling Identities 95
Fourth Iteration: Self-imagining Otherwise 98
Fifth Iteration: Digital Dreams and Delusions 100
Sixth Iteration: A Digital Analogue 102
Behind the Screen 104
References 105
Transliteracy and New Media 110
References 117
Digital Archiving and "The New Screen" 119
Introduction 119
Assumptions 120
Out with the Old 120
Archiving: Why? 120
Archiving: How? 122
Archiving: Whose Responsibility? 123
Questions/Pushback 124
Reflections/Conclusion 126
References 128
Digital Fiction: From the Page to the Screen 129
The Present [Future] of Electronic Literature 136
Introduction 136
Hayles’ Overview of Electronic Literature and Its Genres 137
Electronic Literature Described 137
Hayles’ Genres of 3D Works 138
Other 3D Genres 141
Multimedia Game Narratives 142
Corporeal Poetry 145
Pre-print Multimedia 148
References 149
Transient Passages: The Work of Peter Horvath 152
Part III Multimedia Composition and Performance 163
Visceral Mobile Music Systems 164
Introduction 164
Sensor Instruments 165
Network Music 167
Network Concerts 168
Network Based Installations 168
Hybrids 169
Mobile Music 170
Locative Media 171
Ubiquitous Music 171
Visceral Mobiles 172
Sensing and Localization 173
Local/Remote Hybrid Rendering 174
In Use 175
Reflexive Translucence 176
Conclusions 177
References 178
Designing a System for Supporting the Process of Making a Video Sequence 180
Introduction 180
Related Work 181
A Case Study 182
Roles of Sketching 182
Written and Diagrammatic Annotations for Designers' Multiple Viewpoints. 182
Visualising Relationships between Multiple Viewpoints. 184
Roles of Software 184
Observing ``Facts'' in a Material Sequence. 185
Trial-and-Error Processes. 186
Identified Design Rationales 187
Allowing Seamless Transition between Overview and Detail Representations. 187
Visualising Multiple Viewpoints and Timelines. 188
Enhancing Trial-and-Error Processes. 188
Knowledge Nebula Crystallizer for Time-Based Information 188
OverviewEditor: Providing a Bird-Eye View 189
DetailEditor: A Place for Incremental Formalisation 190
ElementEditor: Seamless Connection with FinalCut Pro HD 191
Towards a Generative Video Authoring System 192
Conclusion 194
Video Game Audio Prototyping with Half-Life 2 196
Introduction 196
The Importance of Prototyping 197
Pure Data 197
Open Sound Control 198
Half-Life 2 199
Technology 199
Pure Data Sound Driver 199
Half-Life 2 and OSC 203
Game Audio Tools 204
Conclusion 205
References 206
Computer-Assisted Content Editing Techniques for Live Multimedia Performance 208
Introduction 208
Background and Previous Work 209
Creating Instruments for Live Visuals Performance 209
Composition and Design 210
The Connection of Movies and Music 210
Assisting the Composition and Performance Workflow 211
Structuring the Workflow 212
Deducing the Design Tree 213
Implementation and Practical Application of the Design Tree 214
Automation of Non-linear Video Editing 216
Pre-processing of Video Material 216
Real-Time Audio Analysis 217
Live Montage 218
Conclusion and Future Work 219
Computational Audiovisual Composition Using Lua 222
Introduction 222
Implementation Strategy 223
Background 223
Contributions 224
Temporal Structure 225
Computational Time and Composition Time 225
Implementation: Coroutine Scheduling 227
Concurrency: Future Directions 228
Spatial and Visual Structure 229
Foundations 229
Current Implementation 230
Sonic Structure 232
Foundations 233
Implementation 233
Conclusion 235
Interrellation: Sound-Transformation and Remixing in Real-Time 238
Introduction 238
Some Basic Principles of Sound Perception 239
Sound as a Transient Medium 239
The Interrelation of Cause and Effect 239
Music as a Time-Based Art 240
The Influence of Digital Audio on the Human Listening Habits 240
Sound as a Durable Medium 240
The Dissociation of Cause and Effect 241
Sound as Ambience-Based Art 241
Sound-Transformation and Re-Mixing in Real-Time 241
Overview 241
Software 242
Processing Methods 242
Artistic Projects and Concepts 243
Snail 243
staTdT_kunst 243
Boxberg-Sinfonie – a Bach-Metropolis-Transformation 244
Auto-route (2004) 244
Filament (2006) 245
Summary 245
References 246
Functors for Music: The Rubato Composer System 247
Introduction 247
Overview 248
Functionality 249
Architecture 249
Universal Spaces: Forms and Denotators 250
Forms, Denotators and Their Implementation 250
The Module Category and Its Implementation 254
Functoriality and Its Application to Musical Operations 255
A Functorial Composition with Dodecaphonic Series 256
Macro Scores and Wallpapers 258
Macro Scores 259
The Wallpaper Rubette 260
Reconstructing Boulez's {/it Structures} 261
Conclusion and Future Work 262
Inventing Malleable Scores: From Paper to Screen Based Scores 264
Introduction 264
Standard Scores and the Repeat Event 264
The Standard Score 264
The Repeat Event 265
Section Summary 266
Self-constructing and Constructible Scores 267
Composing as a Process 267
Self-constructing Scores 267
Constructible Scores 268
Work Specific Notation 269
Section Summary 271
Performance Systems and Modular Scores 271
The Patch Bay and the Punch Card 271
Mechanical and Electronic Performance Systems 273
Section Summary 274
Real Time Electronic Scores and Collaborative Scores 274
Using Motion Tracking 274
Distribution and Sensor Networking 275
Public Audience and Collaborative Scores 277
Section Summary 277
Conclusion 277
References 278
Glimmer: Creating New Connections 279
Introduction 279
Background 280
Large Audience Participatory Music 280
Multiplayer Games 281
Audience Participation in {/it Glimmer} 281
System Design 282
New York and Jerusalem Versions 282
Audience Input and Video Analysis 283
Data Mapping 284
Music Notation and Video Projection 285
Reliability within the Orchestral Environment 287
Evaluation and Discussion 287
Audience Participation 287
The Role of the Orchestra 289
The Musical Result 290
Conclusion and Future Work 291
References 292
Variations on Variations 293
Introduction 293
Conclusion 307
Bibliography 307
Part IV Interfaces and Expression 309
Gestures, Interfaces and other Secrets of the Stage 310
Introduction 310
Lectures and Demonstrations as Performances 311
The Human Body as an Electrical Circuit 312
An Electrical Machine of Sound and Light 312
Wearable Jewels 313
Electrical Diadem 313
Electrical Fireflies 314
Faust and Electrical Duel 314
Electricity Music 315
Wireless Electric Light 315
The Electric Wizard 315
Electric Bones 315
Terpsitone 316
From Analog to Digital Technology 316
Love Machine 317
Computational Interaction and Gestures 318
LoVid – VideoWear 319
Conclusion 319
References 320
Beyond the Threshold: The Dynamic Interface as Permeable Technology 322
Introduction 322
Trajectivity 323
conFIGURING the Cave 324
A Figurative History 325
Hosts 327
Artificial Changelings 327
Relational Aesthetics 329
Naftaztec 329
Body Movies 331
Conclusion 332
References 333
CoPuppet: Collaborative Interaction in Virtual Puppetry 335
Introduction 335
Background 336
Related Work 337
The CHAMBRE Architecture for Multimodal Interaction 337
The CoPuppet Environment for Digital Puppetry 340
Single Puppet, Collaborative Controls 341
Multiple Puppets, Collaborative Controls 342
Configuring CoPuppet 342
CoPuppet Performance 343
Collaboration Aspects 343
Technical Description 344
Combining Virtual and Real Puppets: A Case Study 346
Discussion and Conclusions 349
Experiments in Digital Puppetry: Video Hybrids in Apple’s Quartz Composer 351
Introduction and Aims 351
Concept Description -- Real Time Art 354
Development 355
Understanding {/IT Quartz} Composer 355
The Future of Quartz Composer 357
Custom Software Production 358
Control and Visual Sequencing Software 359
The {/it Wii-Remote} and {/it Quartz Composer} 359
Chroma-keying with GLSL in {/it Quartz Composer} 360
Evolution and Configurations 361
Visual Documentation with Commentary 362
Content Creation 362
Artistic Insights 364
Formalized and Non-formalized Expression in Musical Interfaces 367
Introduction 367
Background 368
Expression 368
Measure Performer's Inputs 369
Mapping 369
Select Measurements 369
Formalize Measurements 369
Levels in Expression to Convey 370
The Performer's Actions 370
Open and Transparent 370
Fields of Analysis 371
Levels of Reality 371
Examples of Performer's Actions 372
Phenomenological and Formalized Level 372
Requirements 372
Formal Specification 373
Abstraction 373
Performer's Focus Move 374
Leaving Essentials Non-formalized 374
Parameter Based Approach 374
Audio Signal Based Approach 375
Advantages and Drawbacks 375
Openness in Computer Games 376
The Problem of Anticipation 377
Examples 377
Restricted Openness 378
Discussion 379
Performer's Estimations 379
Different Qualities 380
Impact of Formalisms 380
Conclusions 381
Interactive Spaces 386
Introduction 386
Premise 387
Everyday Activities 388
The Swisshouse 390
Interactive Wallpapers 392
Word Map 392
William Morris 393
Digital Tape 394
Digital Shadows 396
Beyond Surface: Skin Deep 396
Public Interfaces 397
Conclusion 399
References 400
From Electric Devices to Electronic Behaviour 401
Introduction 401
A Short History 401
Electric Devices 402
Electronic Devices 402
Electronic Behaviour 403
Ubiquitous Computing 403
Ambient Interaction 403
Intelligent Devices 404
User-Product Relationships 405
The Importance of User-Product Relationships 405
Wearable Products: A Special Case 405
Wearable Dreams 406
Revealing User-Product Relationships through Stories 406
Gathering Stories 406
Outcome 407
Conclusion 410
References 410
Scentsory Design®: Scent Whisper and Fashion Fluidics 412
Introduction 412
Background 413
Human Olfactory System and the Digital Arts 414
Emotional Fashion 415
Digital Fragrance Technology 415
Scent Whisper: A User-Worn Scent Dispenser Where the Frequency and Type of Fragrance Delivery Is Flexible and Determined by the User 417
Fashion Fluidics and Innovative Applications in Clothing 418
Conclusion and Further Development 422
Colodours and ‘Coded’ Aroma Messages 424
References 425
Advances in Expressive Animation in the Interactive Performance of a Butoh Dance 427
Introduction 427
Related work 428
Artistic Concepts 429
Butoh Dance 429
Artistic Idea of the System or “The Body Is the Instrument” 430
Generating Visual Feedback as a Concept of Composition 430
The Motion Space 430
The Space of Emotions as Our Narrative Structure 431
Mapping Motion to Emotion 432
Artistic Visual Design 433
The Recognition Engine 433
System Architecture 435
The Sensor Body Network 435
The Mobile System (Wearable Computer) 435
The Stationary System 435
The Visualization Engine 436
Artistic Evaluation by Live Performances 438
Conclusions and Future Work 440
References 440
Anthropocentrism and the Staging of Robots 443
Introduction 443
Robots – A History of Lures 445
Artificial Humans – An Early Quest 445
/v{C}apek’s Robots 446
Androids 447
Puppets: Inert Performers 448
Puppets as Actors / Actors as Puppets 449
Robotic Art: An Anti-mimetic Shift? 451
Staged Robots 451
Sign-Body: Weak Anthropomorphism 451
Sign-Action: Anthropopathy 453
Sign-Design: Mechanomorphism 455
Ontologies Disorder 456
References 457
Part VI Digital Performance in Urban Spaces 461
Imaging Place: Globalization and Immersive Media 462
Introduction 462
Imaging S/`{a}o Paulo 464
Imaging British Columbia: Weyerhaeuser Pulp Mill 468
Imaging British Columbia: Kamloops Indian Residential School 469
Imaging the U.S./Mexico Border 472
Conclusions and Future Work 474
References 475
About... Software, Surveillance, Scariness, Subjectivity (and SVEN) 476
Introduction 476
Surveillance Is Already Scary 479
Software Shouldn’t Be Scary 479
How Is Software Subjective? 480
On Algorithms and Data Verbs and Nouns
I’m Not Myself Today… 481
Technology and the Way It’s Used Aren’t the Same Thing 483
Coda: Keeping Things in Perspective 483
References 483
The NOVA Display System 485
Introduction 485
Background 486
Related Work 488
MiSPHERE (Barco) 488
3D Display Cube, White (James Clar& Associates)
Pixel Cloud (Jason Bruges Studio) 489
Volume at the V& A (United Visual Artists)
NOVA System Overview 490
Hardware 490
Content Creation 491
Interaction 493
Results and Discussion 494
References 496
Four Wheel Drift 497
Introduction 497
Four Wheel Drift and the Space of the City 498
Conceptual Approaches 500
Drift as Metaphor 500
Car Cultures as Hybrid Forms in Motion 501
Collaboration at the Centre of Performance 502
Psychogeography or the Remaking of Representation 504
{/it VJFleet} [redux] and {/it FWDrift} [remix] Technical Overview and Performance 506
{/it VJFleet} [redux] 506
{/it FWDrift} [remix] 507
Works Performed 509
References 509
Author Index 510

Produkt-Details

• Erscheint lt. Verlag: 1.1.2008
• Sprache: englisch
• Themenwelt: Mathematik / Informatik ► Informatik ► Grafik / Design
• Schlagworte: Aesthetics • Animation • Computer Graphics • Editing • functors • gestures • Immersion • Multimedia • Performance • puppetry • robots • Rorschach • technological art • the new screen
• ISBN-13: 9783540794868 / 9783540794868