Table of Contents: Technology, Design and the Arts

Technology, Design and the Arts - Opportunities and Challenges.

Bibliographic Details
Main Author:	Earnshaw, Rae.
Other Authors:	Liggett, Susan., Excell, Peter., Thalmann, Daniel.
Format:	eBook
Language:	English
Published:	Cham : Springer International Publishing AG, 2020.
Edition:	1st ed.
Series:	Springer Series on Cultural Computing Series
Subjects:	Electronic books.
Online Access:	Click to View

Table of Contents:

Intro
Foreword by Jill Journeaux
References
Foreword by Jon Peddie
Preface
Reference
Contents
Editors and Contributors
Part I A Panoramic View of the Field
1 Introduction and Background to Technology and the Arts
1.1 Interactions Between Disciplines
1.2 Relationships Between the Arts and the Sciences
1.3 Historical Developments in the Relationship Between Technology and the Arts
1.3.1 Computer Arts
1.3.2 Computer Animation
1.4 Digital Media
1.5 Digital Humanities
1.6 A New Renaissance?
References
2 Positioning the Arts in the Research Process: Perspectives from Higher Education
2.1 Introduction
2.2 Artistic Research and the Academy
2.3 Knowledge Production and Practice-Based/Practice-Led Research
2.4 Cross-Disciplinary, Interdisciplinary, and Multidisciplinary Collaborative Research in Doctoral Studies
2.5 Art, Collaboration, and Technology
2.6 Conclusions
References
Part II Facilitating Communication Between the Arts, Technology, and Audiences
3 Framing the Conversation: The Role of the Exhibition in Overcoming Interdisciplinary Communication Challenges
3.1 Introduction
3.2 Defining Interdisciplinary Communication
3.2.1 Defining Interdisciplinary
3.2.2 Defining Communication
3.2.3 Defining the Principal Actors in Interdisciplinary Communication
3.3 Interdisciplinary Communication Challenges
3.3.1 Communicating Accurately
3.3.2 Communicating Precisely
3.3.3 Communicating Impactfully
3.4 Interviews with Interdisciplinary Practitioners
3.4.1 The Specialist Technologist's Perspective
3.4.2 The Specialist Artist's Perspective
3.4.3 The Benefactor's Perspective
3.4.4 The Translator's Perspective
3.4.5 The Combined Perspective
3.4.6 An Interdisciplinary Communication Tool Wish List.
3.5 The Exhibition as an Interdisciplinary Communication Tool
3.5.1 Defining Exhibition
3.5.2 Assessing Impact
3.6 A New Curatorial Model
3.7 Conclusions
References
4 Modern Communication Technologies and the Marxist Understanding of Scientific Cognition
4.1 Introduction
4.2 Modern Epistemology About Subject-Object Relations
4.3 Practice as a Unification of Subjective and Objective Reality
4.4 Technical Activity as a Special Form of Practice
4.5 Social and Cultural Perspectives of Communication Technologies
4.6 Extrapolation into the Future
4.7 Conclusions
References
5 Use of Digital Holography to Re-Encode and Image Chinese Movable Type Printing
5.1 Chinese Movable Type Printing
5.1.1 Introduction to Chinese Movable Type Printing
5.1.2 The Influence of Chinese Movable Type Technology in the Wider World
5.2 Encoding in the Context of Chinese Cultural Communication
5.2.1 Re-Definition of Encoding Concepts
5.2.2 The Role of Enlightenment
5.2.3 The Role of Encoding
5.3 Digital Holographic Printing
5.3.1 Modern Digital Printing
5.3.2 Digital Holographic Printing
5.3.3 The Evolution of Chinese Movable Type Printing to Digital Holographic Printing
5.4 The Exploration of Encoding in the Future
5.5 Artistic Works
5.5.1 Three Manifestations of a Chinese Movable Type Text
5.5.2 Four Manifestations of Chinese Movable Type in a Hybrid Timeline
5.6 Conclusions
Appendix: Records of Movable Type Printing in MengXiBiTan
References
Part III Interactions Between the Arts and Data
6 The FOREVER-DO Game: A Big Data Fishing Expedition
6.1 Introduction
6.2 A Fishing Expedition-the Method
6.3 The FOREVER-DO Game-the First 'Catch'
6.4 Petri Nets, Communication and the Bucket Chain.
6.5 Theoretical Context: Design and Analysis of (Coordinated) Communication Systems
6.6 Fishing the Net of the Communication Disciplines
6.7 Conclusion
References
7 Searching for New Aesthetics: Unfolding the Artistic Potential of Images Made by the Scanning Electron Microscopy
7.1 Artist Statement
7.2 Introduction
7.3 Water Represented by the Scanning Electron Microscope
7.4 Photomicrography as an Art Form
7.5 Photographs or not Photographs?
7.6 Scientific Images and New Media
7.7 Conclusions
References
8 Interspecific Interactions: Interaction Modes Between Sound and Movement in Collaborative Performance
8.1 Introduction
8.2 Interactivity in Performance-Origins and Recent Developments
8.3 The Symbiotic Phenomenon
8.4 Interactive Taxonomy: Theory and Precedents
8.5 Symbiotic Interactions in Precedent Practices
8.6 Symbiotic Modes of Interaction in Symbiont Zero
8.7 Mutualism
8.8 Commensalism
8.9 Parasitism
8.10 Conclusions
References
9 Between Presence and Program: The Photographic Error as Counter Culture
9.1 Introduction: Histories and Hierarchies
9.2 Camera Acts and Human Acts
9.3 Agents and Networks
9.4 From Tool to Plaything
9.5 Tinkering with Technology
9.6 Conclusion: Being in Two Minds
References
10 Signs of Surveillance
10.1 Introduction
10.2 Process of Gathering Raw Images and Meta-Data
10.2.1 Building Semantic Affordance with Artistic Raw Materials
10.2.2 Gathering Images and the Dérive
10.3 Managing and Manipulating Large Digital Image Corpuses as Artistic Raw Material
10.3.1 Meta-Data and Artistic Data Management
10.4 Developing Artworks Combining Hand-Coded and Industrial Digital Tools
10.4.1 On the Brittleness of Digital Things
10.4.2 Aesthetics, Frameworks, APIs and Ontologies.
10.5 The Challenge of Live Vs Video of Activity or Interactivity of Exposing the Internal or Relying on the Surface
10.5.1 Exposing the Internal or Relying on the Surface
10.5.2 The Final Work for Gallery Installation
10.6 Conclusion
10.6.1 Final Reflection
10.7 Epitaph for a Digital Artwork
References
Part IV Audio Visual Installations to Generate Collective Human Responses
11 Coral Voices
11.1 Introduction: Corals Are in Crisis
11.2 Initial Research Phase
11.3 Project Development, Phase Two
11.4 Workflow
11.5 Compositional Design and Technical Challenges
11.6 Choral Animation Summary
11.7 Sound Design and Electronic Score Summary
11.8 Conclusions
References
12 Cyberdreams: Visualizing Music in Extended Reality
12.1 Introduction
12.2 The Current State of the Art
12.2.1 Multi-projection VJ Performances
12.2.2 Augmented Reality Companion Apps
12.2.3 Music Visualizations for Mixed Reality Headsets
12.2.4 Music Visualizations in Virtual Reality
12.2.5 Discussion
12.3 Case Study: Projects Visualizing Music in Extended Reality
12.3.1 Background
12.3.2 Augmented Reality Paintings
12.3.3 VJ Performances
12.3.4 Cyberdream VR
12.3.5 Discussion
12.4 Conclusions
References
13 Augmenting Virtual Spaces: Affective Feedback in Computer Games
13.1 Introduction
13.2 Affect, Immersion and Engagement
13.3 Social Presence and Connection
13.4 Augmenting Virtual Environments
13.5 The Internet of Things and Games
13.6 Measuring Affective Response
13.7 Suggestions for Future Work
13.7.1 Measuring the Efficacy of Affective Games
13.7.2 Affective Games and Altered States of Consciousness
13.7.3 Measuring the Social Aspects of Multiplayer Affective Games
13.8 Ethical Considerations
References.
Part V The Convergence of Digital Design, the Arts, Computing, and the Environment
14 Chandini (A Bride for the Moon)
14.1 Introduction
14.2 A Changing Real-World Context
14.3 Short Film
14.4 Outdoor Performance
14.5 Objects and Projections
14.6 Choreography
14.7 Festival
14.8 Live Art
14.9 Video Installation
14.10 Outdoor Dance Theatre
14.11 Documentary
14.12 Conclusions
References
15 Digital Moving Image Installations and Renewable Energy: 1994-2018
15.1 Introduction
15.2 Perpetual Motion
15.3 Fire, Ice &amp
Steam
15.4 Mothlight
15.5 For William Henry Fox Talbot (The Pencil of Nature)
15.6 Interwoven Motion
15.7 Resurrection
15.8 Sunbeam
15.9 Aeolian Processes
15.10 Impossible Objects
15.11 Conclusions
References
16 From Digital Nature Hybrids to Digital Naturalists: Reviving Nature Connections Through Arts, Technology and Outdoor Activities
16.1 Introduction
16.2 Background
16.3 The Design Lens
16.3.1 Technologies, Things, People and Context
16.3.2 Focal Things and Focal Practices
16.3.3 Commoditization
16.4 Using the Critical Lens to Establish Design Guidelines
16.5 Artifacts
16.6 Reflections on the Digital Nature Hybrid Designs
16.6.1 Challenges Arising Through Use of the Critical Lens
16.6.2 Response to the Challenges Arising Through Use of the Critical Lens
16.7 Digital Naturalists
16.7.1 Background
16.7.2 Digital Boggarts
16.7.3 The Lost Sounds
16.8 Reflections on Digital Naturalists
16.9 Conclusions
References
Part VI The Use of Virtual Reality and Augmented Reality to Extend Creativity, Reach, and Engagement in the Arts
17 Virtual Reality Holography-A New Art Form
17.1 Introduction
17.2 Overview of Holography as an Artistic Medium
17.3 Virtual Reality Art.
17.4 The Creation of a New Artistic Medium.

Technology, Design and the Arts - Opportunities and Challenges.

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