Easy Creation of Semantics-Enhanced Digital Artwork Collections

In this paper we propose an approach for cost-effective employing of semantic technologies to improve the efficiency of searching and browsing of digital artwork collections. It is based on a semi-automatic creation of a Topic Map-based virtual art gallery portal by using existing Topic Maps tools. Such a ‘cheap’ solution could enable small art museums or art-related educational programs that lack sufficient funding for software development and publication infrastructure to take advantage of the emerging semantic technologies. The proposed approach has been used for creating the WSSU Diggs Gallery Portal.

The naturally imperfect form : investigations of the application of digital sculpting methods - extracted art : incorporating and translating ‘found art’ into the medium of digital sculpture

This dissertation analyses how physical objects are translated into digital artworks using techniques which can lead to ‘imperfections’ in the resulting digital artwork that are typically removed to arrive at a ‘perfect’ final representation. The dissertation discusses the adaptation of existing techniques into an artistic workflow that acknowledges and incorporates the imperfections of translation into the final pieces. It presents an exploration of the relationship between physical and digital artefacts and the processes used to move between the two. The work explores the 'craft' of digital sculpting and the technology used in producing what the artist terms ‘a naturally imperfect form’, incorporating knowledge of traditional sculpture, an understanding of anatomy and an interest in the study of bones (Osteology). The outcomes of the research are presented as a series of digital sculptural works, exhibited as a collection of curiosities in multiple mediums, including interactive game spaces, augmented reality (AR), rapid prototype prints (RP) and video displays.

Late

Late (2012) is one of a series of works investigating the relationship between artist and ideas of liminality and location. This work was produced in inland Queensland, and invited to be exhibited as a shortlisted group of artists in the Bayton Awards, for the Rockhampton City Gallery.

Reflection of My Digital Mind

This artwork visualised my digital mind which is built on my technology experience. The contemporary technologies make available many small pieces of factual information that have affected the formation of my identity. This results that multiple identities can exist in a rhizomatic form through a vertical gene transfer. This does not refer to schizophrenia, but an ongoing transformation of digital mind.

Wasting Time? Art, Science and New Experience. Examining the Artwork, Know more (House of Commons)

Today the future is travelling rapidly towards us, shaped by all that which we have historically thrown into it. Much of what we have designed for our world over the ages, and much of what we continue to embrace in the pursuit of mainstream economic, cultural and social imperatives, embodies unacknowledged ‘time debts’. Every decision we make today has the potential to ‘give time to’, or take ‘time away’ from that future. This idea that ‘everything‘ inherently embodies ‘future time left’ is underlined by design futurist Tony Fry when he describes how we so often ‘waste’ or ‘take away’ ‘future time’. “In our endeavours to sustain ourselves in the short term we collectively act in destructive ways towards the very things we and all other beings fundamentally depend upon”

headspace Digital Art Exhibition

headspace Digital Art Exhibition is a curated collection of artwork created during a youth arts project and research in which young people’s improved mental health wellbeing and mental health literacy were the focused outcomes for the project. The project aimed to improve mental health literacy, and offer greater opportunities for creative expression supporting young people facing mental health challenges. The Inside project aimed to build dialogue related to youth, arts, mental illness and recovery, through a partnership approach. The partnership approach involved artists and health workers in two separate headspace youth mental health services and aimed to provide opportunities to explore the potential of an arts and health framework. The project ran over ten weeks at both centres, incorporating themed activities such as unleashing inner selfie (sketching, photography and digital manipulation); creating dioramas (found object, three dimensional modelling); creating avatars (sculptural and digital animation); and digital narrating and poster creation (visual, written and spoken texts). Two professional artists facilitated the project, one in each location alongside headspace health workers at weekly workshops. A research component explored the appreciation of how artsbased workshops can be used alongside more traditional responses in youth specific mental health services. Both headspace centres had previously provided unstructured art activities as a way to showcase their services to young people, increase access, and to create a welcoming ‘safe’ youth friendly environment. However, these activities were generally extemporaneous and not specifically evaluated. The digital art exhibition collectively shares the artwork created by the young people and reveals the inter-relationships between risk and resilience and overcoming the odds. Inside unleashed possibilities for a sense of well-being and even happiness into the future.

Temporal: The artwork

The interactive artwork Temporal arose from a series of art-science investigations with some of Australia’s leading flying fox ecologists. It was designed as a gently evolving meditation upon the complex, periodic processes that mark Australia’s often irregular seasonal changes. In turn these changes directly govern the migratory movements of Australia’s keystone pollinating mammals - the mega bats (Flying Foxes). Temporal further called attention to our increasing capacity to profoundly disturb these partners within Australia’s complex, life-supporting systems

The game jam movement: disruption, performance and artwork

This paper explores the current conventions and intentions of the game jam - contemporary events that encourage the rapid, collaborative creation of game design prototypes. Game jams are often renowned for their capacity to encourage creativity and the development of alternative, innovative game designs. However, there is a growing necessity for game jams to continue to challenge traditional development practices through evolving new formats and perspectives to maintain the game jam as a disruptive, refreshing aspect of game development culture. As in other creative jam style events, a game jam is not only a process but also, an outcome. Through a discussion of the literature this paper establishes a theoretical basis with which to analyse game jams as disruptive, performative processes that result in original creative artefacts. In support of this, case study analysis of Development Cultures: a series of workshops that centred on innovation and new forms of practice through play, chance, and experimentation, is presented. The findings indicate that game jams can be considered as processes that inspire creativity within a community and that the resulting performances can be considered as a form of creative artefact, thus parallels can be drawn between game jams and performative and interactive art.

Digital light

Artists Description: Moving rooms and domestic objects pass through the interior of the translucent house as we peer into it. At night they softly emanate a glow much like the glow of a television in the living room. The animated space is choreographed and timed in its movement, broadcasting the contents of the house. There is an interplay between real object and virtual object: the house is made of transparent/translucent glass while the interior objects are virtual images on the screen; total internal reflection occurs so that the image can be seen from certain angles only; the glass is a medium which distorts the animated image, while the animated image permeates the glass with its colour, movement and glow.

Poesia digital: três leituras da Obra de Jason Nelson

The development of digital technologies has opened up a new niche for artistic production. It began to emerge artworks that could only happen in the digital context. In this study, we investigated the syntax of defining digital poetry, recognized internationally as one of the possibilities of this new artistic practice, and how happens the meaning during the reading process. As research corpus, we chose the poem "Birds Still Warm From Flying", by american poet Jason Nelson. And we structure our analysis looking through three perspectives: the digital poem as a game; as the evolution of experimental trends of twentieth-century poetry; and as a representation of Rubik`s Cube, a famous three-dimensional puzzle from the 1970`s. Initially, we made some considerations about the construction of digital poetry as a hypermedia artwork, looking through convergence and hybridization of artistic and media languages. Then, we saw some similarities between Nelson`s poem and electronic games, based on our critical observations about the concept of interactivity. Subsequently, we wrote a historical overview about the poetic experimentation in the twentieth century, bringing examples of sound poetry and visual poetry as evidence that the birth of digital poetry is also the result of the evolution of these experiments. Finally, we use the Charles Sanders Peirce`s semiotics to analyze the signs that give references able to make us recognize the Rubik`s Cube in "Birds Still Warm From Flying"

Copying, emergence, and digital reproduction

This talk combines concepts of the copying of manuscripts in the age before mechanical reproduction (as described in W. Benjamin’s famous Artwork-essay), of the emergence of non-vertical evolution (as to be found in textual ‘contamination’ and in horizontal gene transfer alike), and of the electronic reproduction of such phenomena (as presented in scholarly digital editions and phylogenetic trees). The guiding idea is that ‘copying’, ‘emergence’, and ‘(digital) reproduction’ enable variation depending on particular physical or biological forms, on contextual or environmental conditions, as well as on user habits or receptive fields. – Is it possible to develop a theory of copying and reproduction on this base? The material of the talk will be drawn from the Parzival-Project, a critical electronic edition of an Arthurian romance, composed by the German poet Wolfram von Eschenbach shortly after 1200 and transmitted in over eighty witnesses.

Adult Learners and AIDS Artwork: Suggestions for Adult Education Practice

The purpose of this paper is to explore the ways in which the creative and purposeful use of AIDS Artwork as an educational tool may reduce stigma about HIV/AIDS and help adult learners to regulate their own prejudices about the diseases.