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Browsing CIAC | Capítulos/artigos em livros internacionais / Book chapters/papers in international books by Sustainable Development Goals (SDG) "04:Educação de Qualidade"
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- 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.
- 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.
- 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.
- Generative video artPublication . Veiga, Pedro AlvesGenerative art is historically and widely used for the production of abstract images and animations, each frame corresponding to a generation or iteration of the generative system, which runs within the aesthetic boundaries defined by its author. But rather than being limited to image or sound synthesis, generative systems can also manipulate video samples and still images from external sources, and include vectors that can be mapped to the concepts of shot, sequence, rhythm and montage. Furthermore, generative systems need not be limited to the visual plane and can also render audio, either through sound synthesis or by manipulating sound samples. And in this case, since the output is a constant and uninterrupted audio-visual stream, is it not possible to speak of generative video art, as it becomes indistinguishable from its modern-day video art digital counterparts? Within this perspective, this article traces back the historical roots of generative video art, and proposes a theoretical model for generative video art systems, as a creative intersection of two artistic genres, often seen as disjoint.
- A narrativa pessoal audiovisual: instrumento de afirmação social e de diversidade cultural no contexto do desenvolvimento humano sustentávelPublication . Marcos, Adérito; Pereira, Selma; Ferreira, Ricardo AlexinoDe entre os milhões de pequenas narrativas pessoais audiovisuais criadas todos os dias com o clássico telefone portátil, um número crescente destas incide sobre aspectos da vida pessoal e da comunidade onde se inserem os seus intervenientes. Quando partilhadas em contexto e na rede global, estas pequenas histórias podem constituir-se como instrumentos ad hoc de afirmação pessoal, social, étnica e cultural - fragmentos fundamentais para a promoção e salvaguarda da diversidade cultural e das minorias. Neste capítulo apresentamos uma reflexão da importância da narrativa pessoal em vários contextos, dando especial ênfase à intervenção social e a promoção e salvaguarda da diversidade cultural à luz do desenvolvimento humano sustentável previsto na Declaração Universal sobre Diversidade Cultural da UNESCO.
- Post-fake artivism: how activism and art can break reflexivityPublication . Veiga, Pedro AlvesThis text explores the historical evolution and intertwinement of propaganda, black-boxing, and attention control over the last century, and their combined roles in influencing the masses, more specifically through the spread of fake information in various media formats. In this scenario, artivism (art + activism), in its many forms, hacks the black boxes and exposes their inner workings, algorithms, and strategies. Thus, the author highlights key aspects of propaganda, as posited during the Second World War, and their subsequent spread into advertising, becoming an intrinsic part of global politics and businesses. The concept of black-boxing, as introduced by Latour to designate an opaque process that takes input A and transforms it into output B, while hiding its inner workings or hidden purposes, is then extended and applied to all modern content and media production – including propaganda and advertising – that occludes its sources and information transformation from the public. The reflexive use of these extended back-boxes, together with technological determinism, is fostering what is presented as a widespread phenomenon, turning fake into real, largely supported by a culture rooted in propaganda, thriving in attention-capturing mechanisms and in the conscious use of logical fallacies to maximize public impact, epitomized by the phrase “if faking it gets the job done, who cares?” Form has become more important than function, in the pursuit of goals. The appeal to emotion – overriding reason and fact – is privileged in public communication. Recent advances in generative AI black-boxed systems have densified the scenario, making it nearly impossible to distinguish between highly polished, often hyper-realistic, machine-generated deep-fakes and actual, human-generated media. In a post-fake reality punctuated by a barrage of cognitively overlaid buzzwords – from the simpler like, friend, or tag to the more complex Internet of behaviors, artificial intelligence, extended reality, or enhanced connectivity – created and controlled by dominant cultures to inculcate habits and norms, and to consolidate power, the dismantlement of this unprecedented curtain of clichés becomes urgent, and post-fake artivism (art+activism) may be a step in the right direction.
- Realidade Pós-Fake: uma visão através da arte digitalPublication . Veiga, Pedro Alves daNa era dos prefixos e das buzzwords este artigo apresenta o pós-fake como um fenómeno amplamente disseminado, embora desfocado pelo determinismo tecnológico consubstanciado em caixas-negras. Tem as suas origens na propaganda e na utilização consciente de falácias lógicas e na captura da atenção, com o objetivo de afetar de forma impactante a realidade. Esta análise é conduzida através da arte digital, onde os exemplos de caixas-negras abundam, desde os modernos aplicativos móveis, como o FaceApp ou o TikTok, até ao ubíquo Photoshop. O autor propõe a utilização artivista do pós-fake para a exposição dos meandros internos e ocultos destas caixas-negras, através da sua subversão criativa e utilização crítica, ao serviço de uma melhor e mais transparente comunicação, para a compreensão das estruturas e mecanismos subjacentes às estruturas do tecido social.
- Resonant aesthetics: attention and synaesthesia in digital media artPublication . Veiga, Pedro Alves da; Castilho, Luísa Correia; Dias, Rui Sampaio; Rocha, Luzia; Dias, António de SousaThis article posits the creative exploration of the interconnections between image and sound, as well as the intricate interplay between aesthetics and poetics within the contemporary landscape of new digital artistic formats. To facilitate this exploration, it analyses the nuanced roles attributed to visual and sonic elements and their cognitive effect as attention grabbing mechanisms, in order to discern their mutual interferences and the consequential amplification of their artistic resonance. Moreover, it extends its purview beyond the visual and auditory domains, contemplating the ramifications for the broader spectrum of human senses. Through this analysis of aesthetic dimensions, including sensory experiences that transcend the Aristotelian realms of perception, it seeks to unravel the cognitive and communicational implications inherent in the synergistic employment of these media and the transformative potential encapsulated within the convergence of digital formats, unearthing the profound sensory, cognitive, and communicational impacts that resonate within the realms of art and human perception.
- Os santos negros: reverberações históricas e da sua representação no cinema brasileiro como fator de promoção da espiritualidade negraPublication . Ferreira, Ricardo Alexino; Pereira, Selma; Marcos, Adérito; Luiz Prudente, Celso; Almeida, Rogério deNeste capítulo os autores visam contribuir para a discussão e pesquisa da importância histórica dos santos negros na Europa e no Brasil, e como as suas representações e construções no cinema brasileiro constituem fatores importantes da espiritualidade negra brasileira onde impera um forte sincretismo religioso de interseccionalidade com santos orixás, ligando a religiosidade ancestral africana e aquela da Igreja Católica.
- Spherical perspectivePublication . Araújo, AntónioWe survey the present state of spherical perspective, regarding both mathematical structure and drawing practice, with a view to applications in the visual arts. We define a spherical perspective as the entailment of a conical anamorphosis with a compact flattening of the visual sphere. We examine a general framework for solving spherical perspectives, exemplified with the azimuthal equidistant (“fisheye”) and equirectangular cases. We consider the relation between spherical and curvilinear perspectives. We briefly discuss computer renderings but focus on methods adapted to freehand sketching or technical drawing with simple instruments such as ruler and compass. We discuss how handmade spherical perspective drawings can generate immersive anamorphoses, which can be rendered as virtual reality panoramas, leading to hybrid visual creations that bridge the gap between traditional drawing and digital environments.