Digital Uncanny

2019 ◽  
Author(s):  
Kriss Ravetto-Biagioli
Keyword(s):  
Feedback Loop ◽  
Aesthetic Experience ◽  
Software Systems ◽  
Repressed Memories ◽  
Experimental Art ◽  
The Uncanny ◽  
Art Works ◽  
Data Flows ◽  
Human Gestures ◽  
New Type

We are confronted with a new type of uncanny experience, an uncanny evoked by parallel processing, aggregate data, and cloud-computing. The digital uncanny does not erase the uncanny feeling we experience as déjà vu or when confronted with robots that are too lifelike. Today’s uncanny refers to how nonhuman devices (surveillance technologies, algorithms, feedback, and data flows) anticipate human gestures, emotions, actions, and interactions, intimating we are machines and our behavior is predicable because we are machinic. It adds another dimension to those feelings we get when we question whether our responses are subjective or automated—automated as in reducing one’s subjectivity to patterns of data and using those patterns to present objects or ideas that would then elicit one’s genuinely subjective—yet effectively preset—response. This anticipation of our responses is a feedback loop we have produced by designing software that studies our traces, inputs, and moves. Digital Uncanny explores how digital technologies, particularly software systems working through massive amounts of data, are transforming the meaning of the uncanny that Freud tied to a return of repressed memories, desires, and experiences to their anticipation. Through a close reading of interactive and experimental art works of Rafael Lozano-Hemmer, Bill Viola, Simon Biggs, Sue Hawksley, and Garth Paine, this book is designed to explore how the digital uncanny unsettles and estranges concepts of “self,” “affect,” “feedback,” and “aesthetic experience,” forcing us to reflect on our relationship with computational media and our relationship to others and our experience of the world.

scholarly journals Penciptaan Seni Pertunjukan Berbasis Penelitian

Panggung ◽  
2018 ◽  
Vol 28 (1) ◽  
Author(s):  
I Gusti Ayu Srinatih
Keyword(s):  
Performing Arts ◽  
Personal Taste ◽  
Creative Processes ◽  
Library Research ◽  
Art Works ◽  
New Type ◽  
Object Of Study ◽  
Performing Art

Abstract  In the discourse of performing art creations, there is an assumption that creating art works is not categorized as a scientific, based on a personal taste and instinctive. This article uses a qualitative research with the performing arts approach. By using ethnographic methods, this article focuses on the role of performers in the process of creating the performing arts. Data are collected through interviews, library research, and document studies. As an object of study, 5 (five) outstanding works will be discussed, namely: Terompong Beruk (1982), Bali Agung (2010), Ratricetana (2011), Terompong Beruk Bangkok (2015), and Stri Wiroda (2015). The results of this study indicate that the models of creative as parts of important processes in creating performances are diverse. Through researching creative processes of the works, performers can create new type of works that are different from others, and distinctive from previous works. The novelty of the creative processes contains the quality of aestethic in forms and contents, as well as their values and functions. Keywords: research, creative processes, new creations, performing arts. Abstrak Dalam pewacanaan hasil penciptaan seni pertunjukan, masih ada anggapan bahwa menciptakan karya seni itu sesuatu yang tidak ilmiah dan hanya berdasarkan selera dan insting belaka. Artikel ini merupakan hasil penelitian kualitatif dengan pendekatan seni pertunjukan, dengan menggunakan metode etnografi, dengan fokus pada pencipta/seniman seni pertunjukan. Data-data yang dikumpulkan didapat melalui observasi, wawancara, riset kepustakaan, dan studi dokumen. Sebagai objek kajian, akan dibahas 5 (lima) buah karya cipta  seni pertunjukan yang berbasis penelitian, yaitu: Terompong Beruk (1982), Bali Agung (2010), Ratricetana (2011), Terompong Beruk Bangkok (2015), dan Stri Wiroda (2015).  Adapun hasil dari kajian ini menunjukkan bahwa model proses kreatif yang sangat penting dalam penciptaan seni pertunjukan itu sangat beragam. Melalui penelitian mengenai kajian proses kreatif tersebut dapat dihasilkan karya seni pertunjukan kreasi baru yang berbeda satu sama lain, dan berbeda dari proses kreatif karya sebelumnya. Nilai kebaruan proses kreatif itu mengandung keindahan bentuk dan isi, serta nilai dan fungsinya.   Kata-kata kunci: penelitian, proses kreatif, penciptaan, seni pertunjukan

The Avant-Garde and Technology: Toward Technological Fundamentalism in Turn-of-the-Century Europe

1995 ◽  
Vol 8 (2) ◽  
pp. 397-416 ◽  
Author(s):  
Frank Trommler
Keyword(s):  
Nineteenth Century ◽  
Aesthetic Experience ◽  
Turn Of The Century ◽  
Material World ◽  
Avant Garde ◽  
Art And Technology ◽  
Hands On ◽  
Art Works ◽  
The Aesthetic ◽  
Mies Van Der Rohe

The ArgumentThe avant-garde's fascination with technology around 1900 grew out of several motivations: to shock the antitechnological bourgeois public; to experience a sense of mastery toward the material world, especially with cars, airplanes, and other machines; and to overcome the nineteenth-century separation of art and technology. The article highlights the radical shifts in the perception of technology that correspond with the emerging hands-on encounter with technological objects in homes, cities and at the workplace at the turn of the century. This technological fundamentalism differed sharply from the anxious and symbolically mediated approach to the “materialism” of the machine in the nineteenth century. It was accompanied by a concept of liberation through technological purity which is reflected by the fact that Gropius, Mies van der Rohe and Corbusier did not just design functional objects but also made special efforts to accentuate their functionalism as part of the aesthetic experience of modernity. As French and Italian artists, especially the Futurists, incorporated speed, virility, and the experience of the elementary in the metaphoric construction of technology, they even expressed a kinship with those painters and sculptors who shifted their focus to the rediscovery of the “primitive” magic in the art works from Africa and Polynesia

scholarly journals Perception and Action in One. Impact of Interactive Art Works on the Observer-Participant

2020 ◽  
Vol 6 (1) ◽  
pp. 87-94
Author(s):  
Svetoslav Kosev ◽  
◽  
Atanas Markov ◽  
Keyword(s):  
Visual Arts ◽  
Aesthetic Experience ◽  
Perception And Action ◽  
Interactive Art ◽  
Interactive Installation ◽  
Art Works ◽  
Physical Presence ◽  
Creative Art ◽  
Creative Experience ◽  
Perception Action

Summary: In the visual arts, in addition to the spiritual continuity and physical presence of the observer, another process takes place - the process of perception and action. In interactive works, the two processes overlap. The participant in the interaction alters to some extent the appearance of the object and thus, also, their own aesthetic experience. The ideological content is revealed only when the observer encounters the interactive work and through his actions becomes a participant in the creative experience. The author's project is designed to facilitate the experience of the audience by provoking them to gain knowledge about it. The project became a 'laboratory' for creative and scientific research, through which we made some important conclusions about the perception and action of the observer-participant in the creative art installations. Keywords: interactive art, interactive installation, perception, action, phenomenology

scholarly journals The digital economy in the management of socio-economic relations in the global economy

2021 ◽  
Vol 106 ◽  
pp. 01004
Author(s):  
Fatima Dakhaeva ◽  
Raisa Datsaeva
Keyword(s):  
Economic Analysis ◽  
Exponential Growth ◽  
Global Economy ◽  
Digital Technologies ◽  
Digital Economy ◽  
Social Structures ◽  
Economic Systems ◽  
Economic Relations ◽  
Data Flows ◽  
New Type

The continuing complication of social structures and relations, which are increasingly based on modern digital technologies, causing exponential growth in data flows, brings to the fore the question of the formation of the digital economy. The importance of the ongoing processes made it possible to raise the question of the formation of a new type of economy, where relations with regard to the production, processing, storage, transmission, and use of an increasing amount of data acquire dominant importance. The data become the basis for economic analysis, which examines the patterns of functioning of modern socio-economic systems. According to a number of experts, at present, it is important for an economic agent not to possess any resource, but to have data on this resource and the ability to use it to plan its activities.

Art, definition of

2018 ◽  
Author(s):  
Stephen Davies
Keyword(s):  
Institutional Theory ◽  
Aesthetic Experience ◽  
The Other ◽  
Art Making ◽  
Work Of Art ◽  
Informal Institution ◽  
Works Of Art ◽  
Art Works ◽  
The One ◽  
Definition Of

Many of the earliest definitions of art were probably intended to emphasize salient or important features for an audience already familiar with the concept, rather than to analyse the essence possessed by all art works and only by them. Indeed, it has been argued that art could not be defined any more rigorously, since no immutable essence is observable in its instances. But, on the one hand, this view faces difficulties in explaining the unity of the concept – similarities between them, for example, are insufficient to distinguish works of art from other things. And, on the other, it overlooks the attractive possibility that art is to be defined in terms of a relation between the activities of artists, the products that result and the audiences that receive them. Two types of definition have come to prominence since the 1970s: the functional and procedural. The former regards something as art only if it serves the function for which we have art, usually said to be that of providing aesthetic experience. The latter regards something as art only if it has been baptized as such through an agent’s application of the appropriate procedures. In the version where the agent takes their authority from their location within an informal institution, the ‘artworld’, proceduralism is known as the institutional theory. These definitional strategies are opposed in practice, if not in theory, because the relevant procedures are sometimes used apart from, or to oppose, the alleged function of art; obviously these theories disagree then about whether the outcome is art. To take account of art’s historically changing character a definition might take a recursive form, holding that something is art if it stands in an appropriate relation to previous art works: it is the location of an item within accepted art-making traditions that makes it a work of art. Theories developed in the 1980s have often taken this form. They variously see the crucial relation between the piece and the corpus of accepted works as, for example, a matter of the manner in which it is intended to be regarded, or of a shared style, or of its being forged by a particular kind of narrative.

Art, definition of

2018 ◽  
Author(s):  
Stephen Davies
Keyword(s):  
Institutional Theory ◽  
Aesthetic Experience ◽  
The Other ◽  
Art Making ◽  
Work Of Art ◽  
Informal Institution ◽  
Works Of Art ◽  
Art Works ◽  
The One ◽  
Definition Of

Many of the earliest definitions of art were probably intended to emphasize salient or important features for an audience already familiar with the concept, rather than to analyse the essence possessed by all art works and only by them. Indeed, it has been argued that art could not be defined any more rigorously, since no immutable essence is observable in its instances. But, on the one hand, this view faces difficulties in explaining the unity of the concept – similarities between them, for example, are insufficient to distinguish works of art from other things. And, on the other, it overlooks the attractive possibility that art is to be defined in terms of a relation between the activities of artists, the products that result and the audiences that receive them. Two types of definition have come to prominence since the 1970s: the functional and procedural. The former regards something as art only if it serves the function for which we have art, usually said to be that of providing aesthetic experience. The latter regards something as art only if it has been baptized as such through an agent’s application of the appropriate procedures. In the version where the agent takes their authority from their location within an informal institution, the ‘artworld’, proceduralism is known as the institutional theory. These definitional strategies are opposed in practice, if not in theory, because the relevant procedures are sometimes used apart from, or to oppose, the alleged function of art; obviously these theories disagree then about whether the outcome is art. To take account of art’s historically changing character a definition might take a recursive form, holding that something is art if it stands in an appropriate relation to previous art works: it is the location of an item within accepted art-making traditions that makes it a work of art. Theories developed in the 1980s have often taken this form. They variously see the crucial relation between the piece and the corpus of accepted works as, for example, a matter of the manner in which it is intended to be regarded, or of a shared style, or of its being forged by a particular kind of narrative.

Superposition of Power-Law Models for Hardware/Software System Reliability Data Analysis

2003 ◽  
Vol 10 (02) ◽  
pp. 121-130 ◽  
Author(s):  
Ming Zhao
Keyword(s):  
Embedded System ◽  
Power Law ◽  
Software Systems ◽  
Failure Behavior ◽  
Power Law Model ◽  
System Failures ◽  
Failure Data ◽  
Testing Data ◽  
Duane Model ◽  
New Type

One of the widely used NHPP models in reliability is the so-called power-law model, also known as the Duane model. A power-law model can be applied in analyzing failure data of both software and hardware systems. Nevertheless, the power-law model is no longer applicable to describe the failure behavior when a hardware/software embedded system is concerned since the failures can come from both hardware and software. How to analyze the failure data of this type is still a problem to study and a new type of model is needed to develop. In this paper, we consider the superposition of the power-law models (SPLM) as one candidate to describe the failure behaviors of hardware/software systems. The characteristics of SPLMs are thoroughly studied. It is shown that an SPLM has the intensity function that can be increasing, decreasing, increasing-then-decreasing or decreasing-then-increasing. Specifically, the identification method of the superposition of power-law processes is provided by using the TTT-plot technique. The TTT-transform of a superposition of power-law processes is DFR-like. Therefore, the conditional TTT-plot should present a convex pattern if the system failures follow a superposition process by a few power-law processes. This provides us an easy way to identify the model when the testing data is available.

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