The relationship between interactive installation art and traditional art

2019 ◽  
Vol 6 (2) ◽  
pp. 29-31
Author(s):  
Liu Xuanhong ◽  
Jin Wan Park
Keyword(s):  
Installation Art ◽  
Interactive Installation ◽  
Traditional Art ◽  
The Relationship

Between the physical and the virtual: The present tense of virtual space

2021 ◽  
Vol 11 (1) ◽  
pp. 91-109
Author(s):  
Andrew Burrell
Keyword(s):  
Virtual Environments ◽  
Installation Art ◽  
Virtual Space ◽  
The Other ◽  
Interactive Installation ◽  
Immersive Virtual Environments ◽  
Present Tense ◽  
Alternate Reality ◽  
Narrative Spaces

This article explores a way of thinking about virtual environments and how they might be used to create new spaces, not as an alternate reality, but as an integrated part of reality – regardless of this reality being physical and/or digital. Virtual environments can be seen as an extension of reality – the physical and the virtual sitting side by side with one, more often than not, bleeding into the other. The virtual is not separable from the physical and vice versa. This position will be formed by directly referring to traditions that stem from processes and ideas around materiality, poetics and philosophy rather than centring on technical or hardware specifics. At the centre of this exploration is an ongoing investigation into the role of memory and imagination in narrative spaces in immersive virtual environments, stemming from the author’s background in interactive Installation art and designing for virtual environments. The article’s subtitle refers to Robert Morris’s 1978 article, ‘The present tense of space’, which informs the article’s overall position.

Developing accommodation business for specificial interest tourism: The case study in Ngawas Village, Pasuruan Disctrict, Province of East Java

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Sugito .
Keyword(s):  
Main Concept ◽  
Traditional Art ◽  
The People ◽  
Marketing Activities ◽  
The Moment ◽  
Online Travel ◽  
Relationship Of ◽  
The Village ◽  
The Relationship

The land of PT. Hide Way Resort area 1.5 ha located in Ngawas village, Pasuruan district, the Province of East Java as at the moment is empty land and was planted apple, Eugenia, red pepper, carrot and pumpkin. It is located almost at the same position with Mount Bromo. This land will be used for accommodation/ 10 villas and 1 meeting room. We have to drive and reach this location and can see the apple and vegetable garden on mountain also very nice scenery we can see during passing this location. Also, we can see the natural village condition and warmest welcome from the people around the village. We can see very nice view after reaching the place by mountain view and hill view in cold temperature. Land and hill view on the area make more convenience to stay here. This kind of location can attract the tourist especially specific tourist who always searching the specific destination since it is not many kind of destination like this. The main concept is staying in natural village with traditional villa style and look like the traditional house in the past including the furniture inside and how to cook the food by burning wood. This kind of situation also completed with daily people around the village activities, traditional art show, transportation to Mount Bromo, golf and other activities. The marketing activities will be used the relationship of the owner with his channels abroad, community of specific tourism, you tube, social media and online travel agent. This opportunity is good to be developed in the future since many inquiry for this kind of specific tourism, increase the economy level of the people around and create more working opportunity.

scholarly journals Contemporary Misticism: Recovering Sensible Aesthetics in an Age of Digital Production

Religions ◽  
2019 ◽  
Vol 10 (3) ◽  
pp. 186
Author(s):  
Randall Van Schepen
Keyword(s):  
Artistic Development ◽  
History Of Photography ◽  
Traditional Art ◽  
Critical Attitude ◽  
Present Essay ◽  
Digital Production ◽  
History Of ◽  
Print Era ◽  
Relationship Of ◽  
The Relationship

Materialist accounts of artistic development emphasize the ongoing revolution of media in the progress of history. Amongst the most popular accounts of modernity are Walter Benjamin’s essays on the relationship of photography to traditional art. His account of the loss of aura has been subject to countless reinterpretations since its publication. The present essay addresses the contemporary production of a number of architects and artists whose work provides an interesting challenge to the Benjaminian account of the secularization of artistic ritual. The artists Adam Fuss, Vera Lutter, Alison Rossiter, Sally Mann, and others have recently been exploring photographic methods that contradict the Benjaminian account of the history of photography. They continue to explore techniques that Benjamin placed in the auratic pre-paper-print era, such as Daguerreotypes and photograms, as well as employing other more material/chemically based effects. Such artistic choices are often considered nothing more than a nostalgic reverie trying to stem the tide of materialist history, a flawed search for a lost aura of presence. However, when these works are set against the backdrop of contemporary digitized production and of the Dusseldorf School as well as most other contemporary photographers, these “retro” works stand as a critical counterpoint to our present seamless digital imperium. The soft and hazy effects of these works, what I am calling their misticism, occludes the particularity of digital bits of information in a search to connect to the material and the sensual, something denied by information-saturated technologies. Even within a materialist approach to history, there is room to view these architectural and artistic effects as critically productive rather than merely retrograde. The present essay argues for the timely relevance of contemporary retro-photographic techniques in fostering both a critical attitude and as evidence of attempts to recover a sense of spiritual presence.

Mimetic Dynamics

1998 ◽  
Vol 3 (3) ◽  
pp. 211-218
Author(s):  
Natasha Barrett ◽  
Oyvind Hammer
Keyword(s):  
Natural World ◽  
New Techniques ◽  
Interactive Installation ◽  
The Past ◽  
Recent Developments ◽  
Physical Attributes ◽  
The Many ◽  
Physical Laws ◽  
The Relationship ◽  
Current Paradigm

The ‘art’ we produce today attempts to incorporate an increasing level of computer technology. There are many reasons for this trend, the most significant being a thirst for an exploration of the ‘new’, and the desire to parallel the increasing level of technology seeping into everyday life. However, when surveying recent developments we find an array of technology-related arts projects that instead of reaching forward into the previously unknown, often reproduce the past simply in a digital form, designed to appeal to our immediate senses but lacking in depth and substance. Likewise, it can be observed that in many cultures (ancient and modern), mimesis grows out of what seems to be a human reaction to technological change. Qualities familiar from past usage tend to be reproduced in new materials and with new techniques, regardless of appropriateness. This may have religious origins, or simply result from inertia, reworking concepts within the current paradigm. Parallels can be drawn from evolution, which can be observed to progress in a series of large advancements alternating with periods of extremely slow or zero development (Eldredge and Gould 1972), and from the progress of science, which seems to be similarly stepped (Kuhn 1962).This paper describes Mimetric Dynamics – an audiovisual interactive installation exploring one of the many possible relationships between nature and technology. In this work, real and simulated fluid dynamics are presented simultaneously, allowing both artist and viewer to explore the relationship between ‘digital’ and ‘analogue’ media in both sound and visual dimensions. It gains insight from physical laws and time flows derived from the natural world, where digital technology is used to produce mathematical models simulating real physical attributes. In doing so we are able to harness qualities of the ‘natural’ and use their characteristics to control aspects of the ‘artificial’ (virtual).

What do creators and viewers owe each other? Microcelebrity, reciprocity, and transactional tingles in the ASMR YouTube community

First Monday ◽  
2020 ◽  
Author(s):  
Jessica Maddox
Keyword(s):  
Art Patronage ◽  
Digital Ethnography ◽  
Content Creation ◽  
Traditional Art ◽  
Digital Labor ◽  
Attention Economy ◽  
The Relationship ◽  
Cultural Dynamic

ASMR has skyrocketed to international popularity in recent years, and a thriving community and cultural exists around the phenomenon on YouTube. However, misunderstandings about the practice persist, and little is known about this community in terms of its texts and practices. This research draws on a multiyear digital ethnography into the ASMR culture and community on YouTube, where I analyze how microcelebrity, the attention economy, platform-specific dynamics, and content creation merge. Drawing on extant research that identifies reciprocity as a key cultural dynamic on YouTube, I argue reciprocity in the ASMR YouTube community, as well as the relationship between creator and viewer, can best be understood as transactional tingles: relaxation in exchange for likes, clicks, and views within the attention economy. Transactional tingles is also a contemporary blending of more traditional art patronage and dealer-critic systems, which offers insights into the role viewers and platforms play in content creation, digital labor, and precarity.

scholarly journals The Intelligent Integration of Interactive Installation Art Based on Artificial Intelligence and Wireless Network Communication

2021 ◽  
Vol 2021 ◽  
pp. 1-12
Author(s):  
Ze Gao ◽  
Lin Lin
Keyword(s):  
Artificial Intelligence ◽  
Wireless Network ◽  
Bit Error Rate ◽  
Error Rate ◽  
Installation Art ◽  
Communication Delay ◽  
Network Communication ◽  
Positioning Accuracy ◽  
Interactive Installation ◽  
Communication Equipment

With the development of technology and the times, the development of new media technology and interactive installation art has slowly entered the vision of our audience. It is simply “silent art.” The public no longer “retires” like the traditional one, but participates in it and swims with the artists in the world of art. This article is aimed at studying the application of artificial intelligence and wireless network communication to the application of interactive installation art. Through the optimization of various communication equipment and the continuous advancement of various algorithms, we can strengthen the communication and connection between our interactive installation art. This article proposes that with the addition of artificial intelligence and wireless network communication, the interaction between artists and audiences may be more fun, so that we can be more colorful in our lives. The experimental results in this article show that when performing wireless network communication, the communication delay rate of the intelligent algorithm with artificial intelligence is much lower than that of the one without it, which shows that they can better transmit information to the control end. When affected by the outside world, the bit error rate of wireless network communication will increase, however, the artificial intelligence algorithm is added to his impact range, and his bit error rate increase is obviously not so high. In the process of wireless network communication, the improved algorithm is definitely better than the nonimproved algorithm in terms of energy consumption, communication delay, and bit error rate. Through the enhancement of signals and the selection of materials for communication equipment, these are all in continuous progress, and in this respect, are in continuous exploration. Compared with other algorithms, the ml algorithm has improved positioning accuracy by about 70%, 65%, and 30%. Increasing the number of nodes in the transmission signal can greatly reduce the number of hops between nodes, correspondingly reducing the hop distance error, correspondingly reducing the distance estimation error, and improving the positioning accuracy. It can solve the technical barriers of interactive installation art faster.

scholarly journals Community identity politics of Brijo Lor society, Klaten in Ki Ageng Glego myth through Reog performance

2017 ◽  
Vol 17 (2) ◽  
pp. 144
Author(s):  
Sutiyono Sutiyono ◽  
Bambang Suharjana
Keyword(s):  
Identity Politics ◽  
Qualitative Data ◽  
Community Identity ◽  
Research Approach ◽  
Traditional Art ◽  
The World ◽  
Collection Data ◽  
Research Questions ◽  
Traditional Arts ◽  
The Relationship

<p>This research is aimed to describe community identity politics of Brijo Lor society, Klaten in Ki Ageng Glego myth through Reog performance. The research questions are how is the community identity politics in Brijo Lor society, and what is the relationship between the identity politics with Ki Ageng Glego myth through Reog performance? The research approach used is qualitative. Data collecting technique was obtained by these ways: observation, documentation, literature, and interview. Data analysis was conducted by: data collection, data reduction, data diagnose, and conclusion. To ensure the validity of the data, the researcher conducted triangulation. The result of this research proposed that community identity politics in Brijo Lor society in preserveing Reog is a strategy to maintain traditional art for many other traditional arts are extinct. Reog performance conducted regularly is a mediationof the society who ngalap berkah (beg for blessing) to Ki Ageng Glego spirit. When Reog is performed, Ki Ageng Glego spirit descends upon the world. Many people come to watch Reog because they want to get blessing for the descend of Ki Ageng Glego spirit. Ki Ageng Glego myth became an identity political way of Brijo Lor society through Reog performance.</p>

scholarly journals Technical Composition and Creation of Interactive Installation Art Works under the Background of Artificial Intelligence

2021 ◽  
Vol 2021 ◽  
pp. 1-11
Author(s):  
Yuan Cao ◽  
Zhi Han ◽  
Rui Kong ◽  
Canlin Zhang ◽  
Qiu Xie
Keyword(s):  
Artificial Intelligence ◽  
Installation Art ◽  
Human Life ◽  
Computer Hardware ◽  
Interactive Art ◽  
Interactive Installation ◽  
Open Design ◽  
Art Works ◽  
Artificial Intelligence Technology ◽  
Neural Network Prediction

Interactive installation art is a kind of art that uses specific software and computer hardware as a platform, a platform for interaction between humans and machines or different people through computer hardware. It is an interactive art that uses material installations in nature as a medium. Traditional interactive installation art is not safe and convenient, in order to solve the shortcomings of traditional interactive installation art. This article introduces artificial intelligence technology by studying the overview, development, and application of artificial intelligence. The encryption algorithm for artificial intelligence data protection and the BP neural network prediction model under artificial intelligence are also introduced to ensure the safety of interactive installation art works. The part also introduces the creation tools and creation process of interactive installation art works. Finally, in the analysis part, a questionnaire analysis of the World Expo is carried out. The results of this article show that the art of connecting inserts is the most complete and open design era. Advances in science and technology, the development of digital art, and the needs of human life have led to the development of interconnected input technologies. In addition, in the survey of people’s satisfaction with artificial intelligence, we can conclude that 89% of people think that the security of artificial intelligence technology is very high. Yes, 92% of people think that artificial intelligence technology has a fast computing speed, 86% of people think that artificial intelligence technology is low in cost.

Nimsamer, Chalood (1929--)

2018 ◽  
Author(s):  
Vichaya Mukdamanee
Keyword(s):  
Rural Women ◽  
Gold Leaf ◽  
Eastern Culture ◽  
Traditional Art ◽  
Oil Paintings ◽  
Senior Professor ◽  
Art Scene ◽  
Thai People ◽  
The Relationship ◽  
Thai Culture

Beginning his career in the 1950s, Chalood Nimsamer became one of the most influential contemporary Thai artists. Recognized as a Thai national artist in 1998, Chalood is also a distinguished senior professor who helped develop Thai traditional art in the context of modernism. Most of his work portrays the relationship between local Thai culture and the traditional spirit of Thai people. The variety of his artistic forms, including drawing, painting, printmaking, mixed media, and installation, represent simplicity and calmness, which the artist claims is a unique characteristic of Eastern culture. His fine, delicate drawing lines and gentle colors reflect the love and generosity of rural society. Chalood first gained recognition in the Thai art scene with his early series of tempera paintings, oil paintings, and wood cuts, in which he was inspired by the images of rural women in their daily life. The artist used techniques found in traditional Thai art—organic shapes, vivid colors, and gold leaf—to portray the simple life of Thai people. As a result of these works, including Thai Farmers (1955) and Songkran (1956), Chalood received many awards from the National Art Competition and eventually gained the title of an artist of distinction (in the field of painting) in 1959.

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