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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.
- 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.
- 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.
- 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.
- Cadavre Exquis: Forking Paths from surrealism to interactive filmPublication . Silva, Bruno Mendes da; Tavares, Mirian; Costa, Susana; Araújo, António
- Cinema negro contra a segregação da multicoralidade do ibero-ásio-afro-ameríndio na COVIDPublication . Prudente, Celso Luiz; Marcos, Adérito; Souza, João ClementeEssa comunicação demonstra que a crise mundial da Covid 19 aprofundou com a escolaridade a desigualdade social, inserindo alguns países de economias em desenvolvimento da lusofonia na era da Tecnologia da Informação e Comunicação TICs. No caso do Brasil, um país poliétnico de economia dependente, a contradição social tem configuração de coralidade racial. O modo de produção determina a forma social, pautando a seleção racial. Os segmentos raciais que são mais próximos da semelhança com os fenótipos eurocoloniais são privilegiados. Os grupos distantes da analogia com os traços fisionômicos do branco europeus são mais marginalizados. Raça e cor formam uma pirâmide social, que é clara encima e vai escurecendo na medida em que desce. A monocoralidade eurocaucasiana ancorada no mito de superioridade racial estabelece-se com violenta segregação da multicoralidade, formada pelas culturalidades raciais estranhas ao eurocaucasiano.
- 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.
- Digital narratives & urban artivist networks: a theoretical-methodological approachPublication . Carvalho, Isabel Cristina; Viegas, Sílvia LeiriaThis article explores the disciplinary and thematic convergences of digital media art, urban life and social activism (in the digital plan), merging into a cohesive exploration of digital narratives and their role in supporting and boosting urban artivist networks. In fact, digital tools provide unique opportunities to broaden the scope and impact of socially-engaged art, primarily through artivist practices, while highlighting and emphasising inspiring existences and positions concerning urban rights and building citizenship. As such, in this exploratory essay, we seek to stress the importance of building counter-narratives from the grassroots based on ways of life, habits, customs and everyday experiences historically overlooked by dominant systems while at the same time building theoretical-methodological framework to deconstruct urban strategies and practices and support different forms of self-representation. We will use two complementary dimensions to build our approach: (1) collecting, interpreting and processing data and (2) giving visibility to the referred alternative narratives. Regarding urban processes and physical spaces, these dimensions follow Lefebvre’s structural thinking on the production of social space and the right to the city, pointing out activist methodologies, e.g. those following principles of social justice, human rights, inclusion and equity, among others giving voice and space to the vulnerable individuals and communities.
- 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.
- 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.
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