CIAC | Capítulos/artigos em livros internacionais / Book chapters/papers in international books
Permanent URI for this collection
Browse
Browsing CIAC | Capítulos/artigos em livros internacionais / Book chapters/papers in international books by Issue Date
Now showing 1 - 10 of 23
Results Per Page
Sort Options
- The creation process in digital artPublication . Marcos, Adérito; Branco, Pedro; Zagalo, NelsonThe process behind the act of the art creation or the creation process has been the subject of much debate and research during the last fifty years at least, even thinking art and beauty has been a subject of analysis already by the ancient Greeks such were Plato or Aristotle. Even though intuitively it is a simple phenomenon, creativity or the human ability to generate innovation (new ideas, concepts, etc.) is in fact quite complex. It has been studied from the perspectives of behavioral and social psychology, cognitive science, artificial intelligence, philosophy, history, design research, digital art, and computational aesthetics, among others. In spite of many years of discussion and research there is no single, authoritative perspective or definition of creativity, i.e., there is no standardized measurement technique. Regarding the development process that supports the intellectual act of creation it is usually described as a procedure where the artist experiments the medium, explores it with one or more techniques, changing shapes, forms, appearances, where beyond time and space, he/she seeks his/her way out to a clearing, i.e., envisages a path from intention to realization. Duchamp in his lecture “The Creative Act” states the artist is never alone with his/her artwork; there is always the spectator that later on will react critically to the work of art. If the artist succeeds in transmitting his/her intentions in terms of a message, emotion or feeling to the spectator then a form of aesthetic osmosis actually takes place through the inert matter (the medium) that enabled this communication or interaction phenomenon to occur. The role of the spectator may become gradually more active by interacting with the artwork itself possibly changing or becoming a part of it [2][4].
- Artefacto Presense: do ciclo criativo à experiência transdisciplinarPublication . Marcos, AdéritoO projecto Presense, apresentado neste livro, constitui em si um excelente exemplo de iniciativa de criação em arte computacional / digital. No projecto Presense, o processo criativo arranca com a experimentação seminal do artista, que joga com os conceitos, alguns de grande complexidade científica, enquanto experimenta com os materiais, os sistemas e algoritmos, os cenários aplicacionais, um processo potencialmente desorganizado ou aleatório, ao qual se juntam gradualmente outros intervenientes, detentores de competências e saberes necessários à obra que nasce. E então, paulatinamente, um aspeto ou questão particular sobressai e ganha a atenção especial, tornando-se o centro da experimentação e da reflexão, baseando a implementação, onde vários caminhos alternativos de evolução se colocam, que serão eventualmente tentados, no sentido de progressivamente atingir instâncias mais refinadas, sendo uma das quais (ou grupo delas) escolhida para suportar a experimentação e o desenvolvimento continuado até atingir o artefacto final.
- Enhancement of Russian creative education: new post-graduation programme in digital art practicePublication . Marcos, Adérito; Amílcar, Martins; Saldanha, Ângela; Araújo, António; Carvalho, Elizabeth; Bidarra, José; Coelho, José; Shirley, Paulo; Veiga, Pedro Alves da; Cardoso, Vitor; Pais, Carlos CastilhoIn Project TEMPUS “Enhancement of Russian Creative Education: new Master Programme in Digital Arts in line with EU standards” (2014-2016) the Russian students had the opportunity to study in EU Universities for one semester. The Universidade Aberta, in Portugal, didn’t have a master degree in Digital Arts so a pilot programme had to be created: a new postgraduation in Digital Art Practice. This new curriculum, using blearning (based on online and face to face activities) with transdisciplinary methods, aims a practice oriented training on digital art. It started with a deep understanding of Lisbon, the relationship between people, cultural and artistic spaces and their environments. This knowledge inspired the students to produce and to create an artistic artefact presented in exhibition to an audience. With this postgraduation new possibilities started for reflection about global challenges for education in the millennium.
- Virtual tutoringPublication . Marcos, Adérito; Cláudio, Ana Paula; Martinho, Carlos; Barros, Daniela Melaré Vieira; Carvalho, Elizabeth; Carmo, Maria Beatriz; Seixas, SóniaThe project VIRTUAL TUTORING – the virtual tutor as learning mediating artifact in online university education, is an ongoing project, with the main goal of analyzing the pedagogic impact of an anthropomorphic user interface on a typical distance learning environment targeted to support online higher education. This demands the creation of animated avatars for virtual tutors, able to display intelligent behaviour while interacting with the students. A Virtual Tutor should be analogous to a real human one, being able to proactively understand, solve and intervene in different student learning situations. This paper gives an overview of the project present development status.
- Blended reality: an analysis through the recent evolution of digital media art ecosystemsPublication . Veiga, Pedro Alves daThis chapter proposes an analysis of the impacts that three economic concepts that gained traction in the last decades of neoliberalism – experience, attention and ubiquity – cause in digital arts and artists, driving the establishment of blended-reality as the current inhabited space, and altering the relationships between artists, audience, curating, public spaces, academia, industry and markets. Using the Internet as a technological backbone, the global digital art ecosystem has become a network of relationships and relational mechanisms, where creativity and innovation are being commoditised, organised and consumed like products. By analysing pairs of concepts and the paradoxes involved, it also offers insights on how the blending concept is also being applied to what could have once been considered as extreme opposites. It concludes by showing how artivism and hacktivism rise as the new innovation forces in a networked environment that is written and reads itself, blending materiality and virtuality.
- Mobile learning: benefits of augmented reality in geometry teachingPublication . Leitão, Rui; Rodrigues, Joao M. F.; Marcos, AdéritoAs a consequence of the technological advances and the widespread use of mobile devices to access information and communication in the last decades, mobile learning has become a spontaneous learning model, providing a more flexible and collaborative technology-based learning. Thus, mobile technologies can create new opportunities for enhancing the pupils’ learning experiences. This paper presents the development of a game to assist teaching and learning, aiming to help students acquire knowledge in the field of geometry. The game was intended to develop the following competences in primary school learners (8-10 years): a better visualization of geometric objects on a plane and in space; understanding of the properties of geometric solids; and familiarization with the vocabulary of geometry. Findings show that by using the game, students have improved around 35% the hits of correct responses to the classification and differentiation between edge, vertex and face in 3D solids.
- Ao som dos fluxos da informação: processos de sonificação nas artes sonorasPublication . Paquete, Hugo; Bastos, Paulo Bernardino; Marcos, AdéritoThis essay tries to analyse the impact of the sonification processes in the sound arts, analysing their first and second order modes proposed by Scot Lancaster. This is achieved exploring the definition of their new production methodologies, philosophical implications and conceptual significance taking as examples artistic practical artworks analysed as speculative critical systems I, II, and III. It also explores the artistic trends that have been observed since 1990 in the post-digital aesthetics outside the aesthetics of failure. These artistic practices consist of generating art works based in the data-flows from geology, electromagnetism, nature, economics or other disciplines and practices to convert them into sound events originated outside the physic of sound as non-vibration forces. That is associated in my argument as data-event-sound with a new ontology. This allows a secondary ontology outside the forces that animate the understanding of sound as vibration. The sound is presented as translation of the data-information-flows establishing a relationship with the concept of appearance and form explored by Susanne Langer, opening the understanding of the work of art as a system of interdependent relations in the meta-medium of the digital-art. It generates new ways of understanding sound as mutation in which digital, biology, culture and spiritual establish interconnections between the computer as a digital domain in a landscape of code, promoting complex regimes of laminar-perception. These connections of meaning must be discussed in sound studies because they represent asymptomatic effects of the digital in life, art and the post-digital aesthetic momentum.
- Anamorphosis reformed: from optical illusions to immersive perspectivesPublication . Araújo, AntónioWe discuss a definition of conical anamorphosis that sets it at the foundation of both classical and curvilinear perspectives. In this view, anamorphosis is an equivalence relation between three-dimensional objects, which includes two-dimensional representatives, not necessarily flat. Vanishing points are defined in a canonical way that is maximally symmetric, with exactly two vanishing points for every line. The definition of the vanishing set works at the level of anamorphosis, before perspective is defined, with no need for a projection surface. Finally, perspective is defined as a flat representation of the visual data in the anamorphosis. This schema applies to both linear and curvilinear perspectives and is naturally adapted to immersive perspectives, such as the spherical perspectives. Mathematically, the view here presented is that the sphere and not the projective plane is the natural manifold of visual data up to anamorphic equivalence. We consider how this notion of anamorphosis may help to dispel some long-standing philosophical misconceptions regarding the nature of perspective.
- Cinema, education, and the Internet: which convergences?Publication . Pinto, João; Cardoso, Teresa Margarida Loureiro; Soares, Ana IsabelThis chapter addresses the relationship between cinema, education and the Internet. We focus namely on the contributions of cinema to learning in present society and on new paths for its integration in educational contexts, according to recent paradigms of teaching and lifelong learning. To study this relationship in the context of current digital lifestyles, we take into account phenomena of transmedia and media convergence made possible by the evolution of the Internet. Technological (r)evolution brought a profound transformation into users: from passive consumers of information produced, they have become also producers and distributors of content (their own, or otherwise), which continues to have a profound social and cultural impact on contemporary society. In view of these dynamics, cinema as an industry presents new opportunities and possibilities to intervene and find a new type of audience, which, in addition to being spectators, can be producers of audiovisual content in their daily lives. We continue to explore the strong pedagogical potential of cinema, as the information conveyed and the audiovisual stimuli composing it are easily assimilated by viewers, while cinematographic content takes on increasing and transversal importance in the various digital media and platforms.
- Cadavre Exquis: Forking Paths from surrealism to interactive filmPublication . Silva, Bruno Mendes da; Tavares, Mirian; Costa, Susana; Araújo, António
- «
- 1 (current)
- 2
- 3
- »