How to See the Beauty That Is Not There : The Aesthetic Element of Programming in the Computer- Based Media Art

2007 ◽  
pp. 292-300 ◽  
Author(s):  
Hyunkyoung Cho ◽  
Joonsung Yoon
Keyword(s):  
Media Art ◽  
Computer Based ◽  
The Aesthetic

A Framework for a Motorcycle Design Computer-Based Intelligent Tool

2020 ◽  
Author(s):  
Sean Agius ◽  
Philip Farrugia ◽  
Emmanuel Francalanza
Keyword(s):  
Design Solution ◽  
Design Decision ◽  
Support Tool ◽  
Computer Based ◽  
The Aesthetic ◽  
Emotional Value ◽  
Design Support Tool ◽  
Future Work ◽  
Method Approach ◽  
Intelligent Computer

Abstract Motorcycle riders’ road experience, attitude and position have a large impact on safety. Besides these aspects, a motorcycle designer has to consider the aesthetical emotional value of such artefacts. This paper contributes a novel framework architecture supports designers to develop a rider-centred, safer motorcycle design, while at the same time considering human factors and the emotional values of such artefacts. This paper explores the requirements for this framework through a validated mixed method approach, gaining input from interviewed designers, stakeholders as well as surveyed riders. The proposed framework takes a user-centred approach, placing designers and riders at the framework’s core. Riders are an essential aspect as they assist in generating the knowledge which is critical to the operation of the framework. The framework acts as a support to the motorcycle designer, where it couples the intellectual resources of the designer with the knowledge capabilities of the framework to proactively support motorcycle design decision making. The proposed framework is driven by a harmonisation engine, where the aesthetic, ergonomic, persona and market trend domains are harmonised to achieve a balanced motorcycle design solution. The framework architecture will be employed to implement an intelligent computer-based motorcycle design support tool, in future work.

scholarly journals Border hacking: una conversione artistica dei confini nazionali nella società delle reti

Venezia Arti ◽  
2020 ◽  
Author(s):  
Paolo Berti
Keyword(s):  
New Media ◽  
Mobile Devices ◽  
The Internet ◽  
Media Art ◽  
Positioning Systems ◽  
New Media Art ◽  
Identity Control ◽  
Satellite Positioning ◽  
The Aesthetic ◽  
Border Surveillance

Through the category of ‘border hack’ (proposed by Rita Raley) and the analysis of three meaningful artworks (Transborder Immigrant Tool by Electronic Disturbance Theatre 2.0 and b.a.n.g. lab, BorderXing Guide by Heath Bunting and Shadows from Another Place by Paula Levine), the aim of this article is to investigate the aesthetic-political practices around the notion of transnational border. These are works of a performative nature and are linked to the networked environment of the Internet. They exemplify a brand-new season of New Media Art, in which the electromagnetic armamentarium of satellite positioning systems and mobile devices takes on a tactical dimension of confrontation with the equally technological governmental-military strategies of border surveillance and identity control.

From the Avant-Garde: Re-Conceptualizing Cultural Origins in the Digital Media Art of Japan

Leonardo ◽  
2007 ◽  
Vol 40 (2) ◽  
pp. 142-151 ◽  
Author(s):  
Jean M. Ippolito
Keyword(s):  
New York ◽  
Digital Media ◽  
Process Performance ◽  
Media Art ◽  
Avant Garde ◽  
1960S And 1970S ◽  
Inherent Nature ◽  
The 1960S ◽  
The Aesthetic ◽  
Cultural Origins

Misconceptions concerning digital artists in Japan make them out to be mere followers, savvy with technology but not necessarily the conceptual originators of their work. Examining the aesthetic and philosophical content of their work, however, reveals that their attitudes toward the exploration of process, performance and the inherent nature of materials come from innovative and daring avant-garde groups of the 1960s and 1970s in Japan, including the Gutai and Mono-ha groups, whose ideas predate those of the New York avant-garde schools, even outside of the technological milieu.

scholarly journals Screens as Gestures in Interactive Art Assemblage

2018 ◽  
pp. 147
Author(s):  
Charu Maithani
Keyword(s):  
Media Studies ◽  
Preliminary Report ◽  
Interactive Media ◽  
Media Art ◽  
Interactive Art ◽  
Aesthetic Experiences ◽  
Contemporary Media ◽  
The Aesthetic ◽  
Interactive Media Art

The interaction in the contemporary media art installations can be viewed as a process of transformation as the parts of the installation engage and respond to each other. This paper considers interactive media art as assemblages and argues screens to be gestures of this assemblage. The screens activate and rearrange the relations between the elements of the assemblage by providing multiple connections between them. By examining two artworks, Breath (1991/92) by Ulrike Gabriel and Shadow 3 (2007) by Shilpa Gupta, the paper extrapolates the aesthetic experiences gestured by the screens. Article received: April 25, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Maithani, Charu. "Screens as Gestures in Interactive Art Assemblage." AM Journal of Art and Media Studies 17 (2018): 147−155. doi: 10.25038/am.v0i17.278

scholarly journals IMMERSIVE TECHNOLOGIES OF J. VAL DEL OMAR’S MEDIA ART (“APANORAMIC IMAGE OVERFLOW”, “DIAPHONY”, “TACTILE VISION”) AS AN EXPRESSION OF HIS CONCEPT OF “MECHANICAL MYSTICISM”

2021 ◽  
Vol 17 (1) ◽  
pp. 51-71
Author(s):  
OLGA V. KOLOTVINA ◽  
Keyword(s):  
Mystical Experience ◽  
Three Dimensional ◽  
Media Art ◽  
Affective States ◽  
Emotional Involvement ◽  
Cultural Experience ◽  
Spanish Film ◽  
Media Technologies ◽  
Multi Media ◽  
The Aesthetic

The article analyzes three media technologies for creating an immersive polysensory environment, developed back in 1940–1960s by the Spanish film director and engineer Jose Val del Omar. The technologies are considered in the context of the director’s key concept, which he called “mechanical mysticism”. It was aimed at creating a cinematic analogy of mystical experience by transforming the mysticism of Spanish culture into cinematic technologies. The author reveals how the conversion of the suggestive artistic potential of Spanish mysticism into the immersiveness of film technologies allowed J. Val del Omar to create art spaces that took the system of illusions beyond the visual into special modes of psychological experiences. On the example of his films (Water- Mirror of Granada, 1955, and Fire in Castile, 1961), the author analyzes the originality of the engineering solutions of J. Val del Omar’s technologies, defines the strategies of immersiveness and their rootedness in Spanish mysticism, qualifies the aesthetic impact of these media technologies on viewers. The article demonstrates that immersiveness is achieved by using a shock strategy of interlacing the effects of suggestiveness and defamiliarization (“ostranenie”), as well as through the expansion of the range of the viewer’s sensory perception and the effect of synesthesia. The suggestive impression effect is enhanced by visual poetic metaphors that reveal to the viewers the historically formed sensual imagery of Spanish mysticism. With the help of optical and light technologies, the semantic field of a film is not only visualized, but also illusively materialized as a three-dimensional image. НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 54 THE ART AND SCIENCE OF TELEVISION In general, the strategies reproduce the sensual immersiveness, which is inherent in the Spanish Catholic cultural experience. Such strategies block the viewers’ psychological distancing mechanisms and cause affective states and emotional involvement in the art spaces. Such technological innovations for creation of immersive spectacular audio-visual environments brought the J. Val del Omar’s cinema into the field of multi-media, and therefore he could rightfully be considered the forerunner of media art, the creator of art spaces, which later became known as sound and video installations.

Teaching Computer Aided Product Design With Aesthetic Considerations

2005 ◽  
Author(s):  
Andy S. J. Zhang
Keyword(s):  
Product Design ◽  
Teaching And Learning ◽  
Learning Experience ◽  
Parametric Modeling ◽  
3 Dimensional ◽  
Software Packages ◽  
Modeling Software ◽  
Computer Based ◽  
Design Projects ◽  
The Aesthetic

This paper presents a study on how to utilize the computer based 3-dimensional parametric solid modeling software to integrate aesthetics into the lectures of product design related courses of a mechanical engineering curriculum to improve teaching and learning. The study indicates that when aesthetics were properly introduced into the classrooms of product design related courses; it created an environment that stimulated students’ imagination and creativity therefore enhancing their learning experience. When teaching product design courses, instruction tends to be focused on the underlying engineering requirements related to the product. Little is taught in the classroom about the aesthetic aspects of the product. As a result, the products created from the student’s design projects are mostly functional but not necessarily visually appealing. To address this issue, in teaching design-related courses, students were told to play the roles of both designers and consumers. After learning the basics of aesthetics, students were encouraged to inject their own aesthetic evaluations, considering themselves as customers, into the design process. This allowed the students to put more attention on the human elements (aesthetics) of their design. As a result, the students’ design projects have dramatically improved in content and in forms. The advances in computer based 3D parametric modeling software has made the integration of aesthetics into the engineering design curriculum possible. Both AutoDesk’s Inventor and PTC’s Pro Engineer Wildfire software packages were used in the classrooms. With the software’s enhanced spline and surface features, students were able to try different forms or shapes to generate the desired aesthetic effects that they weren’t able to create in the past.

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