Creating digitally : shifting boundaries: arts and technologies--contemporary applications and concepts

• Autore: Brooks Anthony L
• Pubblicazione: Cham : , : Springer International Publishing AG, , 2024; ©2023
• Edizione: 1st ed.
• Descrizione fisica: 1 online resource (562 pages)
• Disciplina: 701.15
• Nota di contenuto: Intro -- Preface -- Contents -- 1 New Media Arts-The Thinking Space for Digitality -- 1.1 Emphasis -- 1.2 ART + COM-An Interdisciplinary Media Lab in West-Berlin (1987-1992) -- 1.2.1 Home of the Brain (1990-91)-Philosophers Houses -- 1.3 VisWiz-Visual Wizzards at the GMD: The German National Research Center for Information Technology (1992-95) -- 1.3.1 Liquid Views (1992)-Narcissus' Digital Mirror. Ovid's Metamorphosis as a Real-Time Wave Algorithm -- 1.3.2 Responsive Workbench (1993)-Thinking with Your Hand -- 1.3.3 The Virtual Balance (1995)-Looking with Your Feet -- 1.3.4 Virtual Striptease-First Networked Virtual Studio TV Production (1995) -- 1.4 MARS-the Media Arts Research Studies at GMD (1995-2001) and at Fraunhofer (2001-2012) -- 1.4.1 Netzspannung.org-One of the First Media Art Online Archives (1998-2010) -- 1.4.2 Faces of the Archive -- 1.4.3 Semantic Map-A Navigation System for the Data Space (1999-2002) -- 1.4.4 MediaFlow-Thoughts in the Flow (2005) -- 1.4.5 Digital Sparks Matrix (2001-08) on the Web and on PointScreen (1996-2002) -- 1.4.6 Energy Passages-A Public Thinking Space (2004) -- 1.5 Digitality for Good or Bad -- 2 Pick My Brain: Thoughts on Anatomical Representations of the Human Inner Body from the Renaissance, Baroque Paintings, and Book Illustrations of the Modern Age to Current Medical Imaging Visualizations -- 2.1 Act 1. Pictorial Bodies: Anatomy Lesson's Mise-en-Scènes -- 2.2 Act 2. Paper Bodies: The Body-Corpse Unbound -- 2.3 Act 3. A Portrait in Absence: Pieter Claesz's Vanitas Still Life (Figure 2.6) -- 2.4 Coda. 'Bodies Without Organs', or Another (Book) Anatomy Lesson -- 2.4.1 Recollections -- 2.4.2 To Image and the Self-imaginary -- 2.4.3 Paper Sculptures and the Vanitas Series -- 2.4.4 A Portrait in Absence -- References. ; 3 A Framework of Networked Art as a Diagram that is an Image as a Map that is a Plan and that is a Space as a Territory -- 3.1 How Did I Get Where? -- 3.2 And from There? -- 3.3 Wayfinding -- 3.4 "I Looked, and, Behold, a New World!" [34] -- 3.5 "A Map Is Not the Territory It Represents" [40] -- References -- 4 Exercising Digitally: A Multi-Perspective Analysis of Exergames for Physical Activity and Health Promotion -- 4.1 A New Approach to Physical Activity and Health Promotion? -- 4.2 History of Exergaming: A Brief Overview of Products and Developers -- 4.2.1 Trial and Error -- 4.2.2 "Gamification" Versus "Sportification" -- 4.3 Status Quo: A Clustering Approach to Current Exergaming Products -- 4.3.1 Console-Based Exergaming -- 4.3.2 Virtual Reality (VR)-Based Exergaming -- 4.3.3 Cube-Based Exergaming -- 4.3.4 Smartphone-Based or Mobile Device-Based Exergaming -- 4.3.5 Ergometer-Based Exergames -- 4.3.6 Wall-Based Exergames -- 4.3.7 Exergaming Room Concepts -- 4.4 Potential Effects of Exergaming -- 4.4.1 Exercise Intensity and Energy Expenditure -- 4.4.2 Enjoyment -- 4.4.3 Health-Related Parameters -- 4.4.4 Exergaming and Cognitive Performance -- 4.4.5 Limitations of Current Literature -- 4.4.6 Conclusion -- 4.5 Considerations for the Design of Exergames -- 4.6 Summary and Future Directions -- 4.6.1 In a Nutshell -- 4.6.2 Future Directions -- 4.6.3 Trends: Exercising in the Metaverse for a Healthy (Real)-Life? -- References -- 5 Close Encounters of the Immersive Kind: Embodied Fundamentals and Future Directions of Affective Virtual Reality (VR) Design -- 5.1 Introduction -- 5.1.1 Affect and the Future of Virtual Reality Design -- 5.2 Embodied Fundamentals of VR Narrative Design -- 5.2.1 Research Methodology: Tuning into My Intuitive First-Person Perspective -- 5.2.2 Findings: Proposing an Embodiment Grammar. ; 5.3 The Encounter State as Pivotal to VR Design -- 5.3.1 Framing Encounters Through Dialogic Possibilities -- 5.3.2 Structuring Encounters Through Performative and Ludic Techniques -- 5.3.3 Choreographing Encounters to Generate Character Embodiment -- 5.3.4 VR Narrative Design Contributions to Conceptualisations of Presence, Immersion and Embodiment -- 5.4 Conclusion: The Future of VR Design -- 5.4.1 The Future of VR Design -- 5.4.2 Conclusion -- References -- 6 Creating Digitally: Computer Films/Screenlife/Zoom -- 6.1 Introduction -- 6.2 Screenlife Origins -- 6.3 From Desktop to #Screenlife -- 6.4 Zoom Films -- 6.5 #Sidiadoma [7] -- 6.6 Searching [25] -- 6.7 Conclusion -- References -- 7 Designing Interrogative Robot Theater: A Robot Who Won't Take No for an Answer -- 7.1 A Theoretical Framework -- 7.2 Robot Theater: A New or Old Practice? -- 7.2.1 Robot Theater and Human Robot Interaction -- 7.2.2 Robotic Performances and Performers -- 7.3 Interrogative Robot Theater: A Practice-Based Approach from Character Design to Staging -- 7.3.1 Staging/Blocking: Interaction Design (Director's Role) -- 7.3.2 Building a Character: Character Design (Actor's Role) -- 7.3.3 Script Writing: Dialogue Design (Playwright's Role) -- 7.4 Research Methodology Implemented: Come Hither to Me! -- 7.4.1 Character Design: ROVERita -- 7.4.2 Interaction Design (with Space and Audience): Staging and Designing Interactivity -- 7.4.3 Dialogue Design: Playwriting + Dramaturgy -- 7.5 An Epilogue -- 7.5.1 Interrogative Design and Robot Forum Theater -- 7.5.2 A Double Negative Identity of a Robotic Performer -- References -- 8 Actor-Flower-Mesh-Work: Making Environments Together -- 8.1 Introduction -- 8.1.1 The Lichtsuchende -- 8.2 Starting to Make Things -- 8.2.1 Becoming a Thing -- 8.3 Material Qualities, Performances, Flows and Mattering -- 8.3.1 Different Things. ; 8.4 Things and Environments -- 8.5 Actors at Work: ANT Briefly Unpacked -- 8.6 The Active Mesh at Work -- 8.6.1 Ingold's Lines in the Meshwork -- 8.6.2 Latour's Actors in the Network -- 8.7 Bringing Things Together -- References -- 9 Generative Video Art -- 9.1 Introduction -- 9.2 Roots -- 9.3 Process -- 9.3.1 Vocabulary Identification -- 9.3.2 Structuring Device -- 9.3.3 Recomposition and Amplification -- 9.3.4 Event Detection -- 9.4 Poetics -- 9.5 Conclusion -- References -- 10 A Guide to Evaluating the Experience of Media and Arts Technology -- 10.1 Introduction -- 10.1.1 Principles of Quality Research -- 10.1.2 HCI, UX, and Interactive Arts -- 10.2 Types of MAT Study -- 10.2.1 Example Proof-of-Concept Studies -- 10.2.2 Comparative Studies -- 10.2.3 From Proof-of-Concept to Comparative Study: The Chaos Bells -- 10.3 Designing a MAT Study -- 10.3.1 Choosing a Study Type -- 10.3.2 Designing the MAT Itself -- 10.4 Conducting and Reporting Your MAT Study -- 10.4.1 Section: Background -- 10.4.2 Section: Research Questions -- 10.4.3 Section: Study Methodology -- 10.4.4 Section: Data Analysis -- 10.4.5 Section: Results -- 10.4.6 Section: Discussion -- 10.4.7 Other Presentation Components -- 10.5 Conclusion -- References -- 11 haptic HONGI: Reflections on Collaboration in the Transdisciplinary Creation of an AR Artwork -- 11.1 Introduction -- 11.2 Background and Motivation -- 11.3 The haptic HONGI Experience -- 11.3.1 The Technology Behind haptic HONGI -- 11.4 User Feedback from the Experience -- 11.4.1 Quantitative Assessment -- 11.4.2 Qualitative Assessment-A Discursive Approach -- 11.4.3 Māori Responses -- 11.4.4 Immigrant Responses -- 11.5 Reflections on Design -- 11.5.1 Intention: What's a Discursive Designer to Do? -- 11.5.2 Understanding: What's a Discursive Designer to Know? -- 11.5.3 Message: What's a Discursive Designer to Say?. ; 11.5.4 Scenario: How Does a Discursive Designer Set the Stage for Discourse? -- 11.5.5 Artifact: What's a Discursive Designer to Make? -- 11.5.6 Audience: To Whom Does a Discursive Designer Speak? -- 11.5.7 Context: How Does a Discursive Designer Disseminate? -- 11.5.8 Interaction: How Does a Discursive Designer Connect? -- 11.5.9 Impact: What Effect Can a Discursive Designer Have? -- 11.6 Lessons Learned -- 11.7 Conclusion and Directions for Future Work -- References -- 12 Connecting Past and Present Through a Multisensory Toolkit-A Non-pharmacological Intervention for People Living with Dementia -- 12.1 Introduction -- 12.2 Impact of Dementia -- 12.3 Reminiscence Therapy -- 12.4 Multisensory Stimulation -- 12.5 The AMuSED Toolkit -- 12.5.1 Themes -- 12.5.2 Stimulation -- 12.5.3 Activity Booklet and Prompt Questions -- 12.6 Evaluation and Feedback -- 12.6.1 Development Process and Expert Input -- 12.6.2 Evaluation of Use in Care Facilities -- 12.6.3 Positive Feedback -- 12.6.4 Challenges and Improvements -- 12.7 Conclusion -- References -- 13 Extended Digital Musical Instruments to Empower Well-Being Through Creativity -- 13.1 Extended Digital Musical Instruments -- 13.1.1 Music Therapy and the Mirroring Phase -- 13.1.2 EDMIs with Therapeutic Purposes -- 13.1.3 Embodiment, the Environment and EDMIs -- 13.1.4 Sensorimotor Contingencies, Creativity and Sensory Integration -- 13.1.5 BehCreative -- 13.1.6 Phases of the User's Creative Involvement Within an EDMI -- 13.1.7 Future Perspectives -- 13.2 Note -- References -- 14 The Evolution of the Virtual Production Studio as a Game Changer in Filmmaking -- 14.1 Introduction -- 14.2 A Brief History of Composite Images -- 14.3 The Evolution of Game Engines -- 14.4 A Brief History of the Virtual Camera -- 14.5 The Performance of Machinima -- 14.6 From Front Projection to LED Volume. ; 14.7 A Brief History of the Virtual Production Studio.
• Titolo autorizzato: Creating Digitally
• ISBN: 3-031-31360-7
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Lingua di pubblicazione: Inglese
• Record Nr.: 9910768199803321
• Lo trovi qui: Univ. Federico II
• Serie: Intelligent Systems Reference Library