18 resultados para sustainability, interactive media art
Resumo:
Participatory and socially engaged art practices have, for a couple of decades, emerged a myriad of aesthetic and methodological strategies across different media. These are artistic practices that have a primary interest in participation, affecting social dynamics, dialogue and at times political activism. Nato Thompson in Living Form: Socially Engaged Art from 1991-2011 surveys these <br/>practices, which range from theatre to urban planning, visual art to healthcare. Linked to notions such as relational aesthetics (Bourriaud, 1998), community art and public art, socially engaged art often focuses on the development of a sense of ownership by the part of participants. If an artist is working truly collaboratively with participants and addressing the reality of a particular community, the long-term effect of a project lies in the process of engagement as well as in the artwork itself. Projects by New York based artist Pablo Helguera, for example, use different media to engage with social inequalities through participative action while rejecting the notion of art for art sake. <br/><br/>Socially engaged art functions by attaching itself to subjects and problems that normally belong to other disciplines, moving them temporarily into a space of ambiguity. It is this temporary snatching away of subjects into the realm of art-making that brings new insights to a particular problem or condition and in turn makes it visible to other disciplines. (Helguera, 2011)<br/><br/>Socially engaged practices develop the notion of artwork about or by a community, to work of a community. In this chapter we address how socially engaged, participatory approaches can form a context for the sonic arts, arguably less explored than practices such as theatre and performance art. The use of sound is clearly present in a wide range of socially engaged work (e.g. Helgueras Aelia Media enabling a nomadic radio station in Bologna or Maria Andueza Immigrant Sounds Res(on)Art (Stockholm) exploring ways of sonically resonating a city, or Sue MacCauleys The Housing Project addressing ways of representing the views of urban dwellers on public scape through sound art. It is nevertheless rare to encounter projects which take our experience of sound in the everyday as a trigger for community social engagement in a participatory context. <br/>We address concepts and methodologies behind the project Som da Mar, a participatory sonic arts project in the favelas of Mar, Rio de Janeiro. <br/>
Resumo:
Taking in recent advances in neuroscience and digital technology, Gander and Garland assess the state of the inter-arts in America and the Western world, exploring and questioning the primacy of affect in an increasingly hypertextual everyday environment. In this analysis they signal a move beyond W. J. T. Mitchells coinage of the imagetext to an approach that centres the reader-viewer in a recognition, after John Dewey, of art as experience. New thinking in cognitive and computer sciences about the relationship between the body and the mind challenges any established definitions of embodiment, materiality, virtuality and even intelligence, they argue, whilst Extended Mind Theory, they note, marries our cognitive processes with the material forms with which we engage, confirming and complicating Marshall McLuhans insight, decades ago, that all media are extensions of man. In this chapter, Gander and Garland open paths and suggest directions into understandings and critical interpretations of new and emerging imagetext worlds and experiences.
Resumo:
<p>Research in the field of sports performance is constantly developing new technology to help extract meaningful data to aid in understanding in a multitude of areas such as improving technical or motor performance. Video playback has previously been extensively used for exploring anticipatory behaviour. However, when using such systems, perception is not active. This loses key information that only emerges from the dynamics of the action unfolding over time and the active perception of the observer. Virtual reality (VR) may be used to overcome such issues. This paper presents the architecture and initial implementation of a novel VR cricket simulator, utilising state of the art motion capture technology (21 Vicon cameras capturing kinematic profile of elite bowlers) and emerging VR technology (Intersense IS-900 tracking combined with Qualisys Motion capture cameras with visual display via Sony Head Mounted Display HMZ-T1), applied in a cricket scenario to examine varying components of decision and action for cricket batters. This provided an experience with a high level of presence allowing for a real-time egocentric view-point to be presented to participants. Cyclical user-testing was carried out, utilisng both qualitative and quantitative approaches, with users reporting a positive experience in use of the system.</p>
