A NEW DIGITAL ART GAME: THE ART OF THE FUTURE

2019 ◽  
Vol 4 ◽  
pp. 346
Author(s):  
Ieva Gintere
Keyword(s):  
General Public ◽  
Design Science ◽  
Modern Art ◽  
Science Research ◽  
Digital Art ◽  
Historical Background ◽  
Digital World ◽  
Current Trends ◽  
Definition Of ◽  
Art Game

The task of this study is to create an innovative digital art game of contemporary aesthetics on the basis of research. Research implies the analysis of digital art games and the historical background of their aesthetics, as well as their classification following the stylistic trends. Digital games have a great potential to integrate people into fields that would otherwise not meet their interest. The new game would develop the creative skills of players and teach them the current trends in digital art. The game would project the inheritance of art from the age of modernism into the digital world by teaching the player to recognize it (for instance, pixel aesthetics is a successor to cubism and constructivism). The new game will let its user play around with the trends in digital art such as vaporwave, glitch and others, and to create new ones. Thus, it would deal with the problem of knowledge cache and cultural segregation that characterizes modern art: being an esoteric subject to a great extent, it is difficult to access a large segment of the public. The aim of this study is to raise the interest of a wide-ranging public for contemporary art and to point out the newest creative tendencies in art. The paper presents an overview of digital art games, introduces a novel term, vaporwave, that has not been registered in the art game discourse so far, and offers an updated definition of the art game. The Design Science Research method is used in order to cross-cut such remote fields as the general public and the arthouse world, codes of modern art and the taste of the general public. 

scholarly journals TOWARDS A NEW DIGITAL GAME OF CONTEMPORARY AESTHETICS

2019 ◽  
Vol 1 ◽  
pp. 18
Author(s):  
Ieva Gintere
Keyword(s):  
Knowledge Transfer ◽  
General Public ◽  
Design Science ◽  
Modern Art ◽  
Science Research ◽  
Design Science Research ◽  
Digital Art ◽  
Digital Game ◽  
Research Results ◽  
Art Game

INTRODUCTION This paper partly envisages the research results of the European Regional Development Fund (ERDF) project (see Acknowledgements). The task is to create an innovative digital game in the cross-cutting genres of art game and educational game. The game presents the specific aspects of digital art games and their historical background. Work on the new game will be carried out in a collaboration of the researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Latvia). The game is being created in the framework of a Post-doctoral project led by Ieva Gintere during 2018-2021. MATERIALS AND METHODS Unity3d for game design. Blender 3d object design. Audacity and Abletone music generation and editing. Photoshop, illustrator for game texture, art design. RESULTS The study presents an insight into contemporary digital game theory and a new threefold method of game creation named RKTR (research / knowledge transfer / research). In this model, the game is created on the basis of research and knowledge transfer: knowledge gained in the research process is transferred to the players. The game also functions as a platform of new knowledge construction as the secondary task of the game is to collect the results of the players in order to analyse the new creative tendencies and to foresee the art trends of tomorrow. The proposed method focused on the aspect of knowledge transfer is constructed as a three-level spiral: - research-based game creation (the game is based on the results of research),- knowledge transfer (the game transfers the research results to the player),- use of the gameplay results in research (the game creators collect the data of the gameplay for new research). The existing game designers and theoreticians carry out research in action where the game design is united with the game research. In the discourse of digital gaming, this is a widespread method. However, there is a missing part in this model. Knowledge gained in this type of research does not flow beyond the circle of the game’s creators and researchers. This knowledge stays within the society of the game’s designers and researchers, and functions as a tool for their future work. Knowledge is an instrument for experts, and it is not transferred to the regular player. The existing model of a research-based game helps to obtain formal and professional knowledge: it is a know-how, it tells a designer how to build a game, but it is not meant for the player. The aim of the new digital game that is being created in this project, is to connect the research results with the player so that the knowledge acquired in the research process is effectively transferred to the general public. DISCUSSION Taking into account that art today is largely interactive, the new art game will let its user play with trends of digital art such as noise, generative art and others, and to create new ones. The aim of this project is to raise the interest of a wide-ranging public for contemporary art and to point out the newest creative tendencies in art. The game would develop the creative skills of players and teach them the current trends in digital art. At the same time the game would project the inheritance of art from the age of modernism into the digital world by teaching the player to recognize it (for instance, generative art is a successor to the Fluxus movement in modernism). The new art game is intended to educate the player and to stimulate his/her creative forces. The Design Science Research method is being used in this study in order to cross-cut such remote fields as the general public, the arthouse world, codes of modern art and the tastes of the general public. The Design Science Research method helps boost efficiency and interest towards contemporary art games. It intends to integrate seemingly distant disciplines and seeks parallels in different areas in order to gain new knowledge and adapt fresh approaches. By finding common aspects in different areas, Design Science Research fuses areas and invites new trends into a research field. ACKNOWLEDGEMENTS This study has been supported by a grant from the European Regional Development Fund research “Leveraging ICT product innovations by enhancing codes of modern art” No. 1.1.1.2/VIAA/1/16/106 within the Activity 1.1.1.2 “Post-doctoral Research Aid” of the Specific Aid Objective 1.1.1 “To increase the research and innovative capacity of scientific institutions in Latvia and the ability to attract external financing, investing in human resources and infrastructure” of the Operational Program “Growth and Employment”. Homepage of the research: http://va.lv/en/research/research/leveraging-ict-product-innovations-enhancing-codes-modern-art  

scholarly journals Conceptual Model of Technology-Enabled Creative Learning Community

Techno Com ◽  
2017 ◽  
Vol 16 (2) ◽  
pp. 164-181
Author(s):  
Dawam Dwi Jatmiko Suwawi
Keyword(s):  
Learning Community ◽  
Conceptual Model ◽  
Graduate School ◽  
Creative Thinking ◽  
Teaching And Learning ◽  
Design Science ◽  
Science Research ◽  
Creative Learning ◽  
Need To Evaluate ◽  
Definition Of

This paper proposes a definition of Creative Learning Community (CLC) that is enabled with technology and its conceptual model in Graduate School of Telkom University. As rooted to learning community term, CLC is defined as a teaching and learning approach within a learning community that consists of a group of students and faculty member that uses creative learning concept. This study adapts the Design Science Research Framework in Information System by Hevner et al to build the conceptual model. First, the study synthesizes existing literature on learning community and creative learning community to define CLC term. Second, based on a review of previous studies and books on learning community, creative thinking, group creativity, engaged learning, student learning outcomes and technology supporting creative learning community, the author analyzes construct candidates of the model. Third, after selecting constructs from the candidates, the study continues by designing the conceptual model of technology-enabled creative learning community. The model was tested the implementations of learning community in Graduate School of Telkom University. The findings provide several conceptual and managerial insights into the role of technology in supporting creative learning community. Future work will need to evaluate the model in the context of other engineering.

scholarly journals Iraqi Digital Art: Origin and Evolution

2021 ◽  
pp. 191-197
Author(s):  
Sanaa Mohsin
Keyword(s):  
Digital Technology ◽  
Virtual World ◽  
Modern Art ◽  
Digital Art ◽  
Origin And Evolution ◽  
Digital World ◽  
The World ◽  
Different Dimensions ◽  
A New Technique ◽  
Traditional Arts

The current challenge facing our age is the information digitization, at the same time, there is a huge development in the interdisciplinary of technologies with sciences. In the last few years, the World witnessed a number of information challenges with different dimensions, including digital dimensions, which are called the digital world and the virtual world for authors and movie writers. Consequently, the digital art concept emerged that utilizes the computer in an efficient way and as a new technique for drawing. This art is considered a great leap for modern art. The influence of digital technology transformed traditional arts like painting and sculpture into new forms, from pure arts to virtual reality. The most important characteristics and advantages are reflected in saving time, effort, cost and area. Digitally, art would enrich Iraqi culture by employing Iraqi creativity. This paper targets the concept of digital art, characteristics of art in virtual society and presenting the history – origins and evolution – of digital art. A group of paintings have been created using Photoshop Cc, Photo Shop C5 and Art Rage programs.

Algorithms, Artificial Intelligence, and Posthuman Adaptation: Adapting as Cultural Technique

Adaptation ◽  
2020 ◽  
Author(s):  
Eckart Voigts
Keyword(s):  
Network Theory ◽  
Actor Network Theory ◽  
Digital Art ◽  
Adaptation Studies ◽  
Avant Garde ◽  
Writing Practices ◽  
Digital World ◽  
Definition Of ◽  
And Function ◽  
Role And Function

Abstract The paper discusses hybrid writing practices which emerge as a consequence of digital coding in electronic media and therefore also transform the materiality of ‘classic’ media. It argues that practices of adaptation have been re-shaped by digital advances that have not been taken into consideration by adaptation studies. The interconnected digital world holds large quantities of available data and it is conceived as an ever-changing space of permanent copy and constant adaptation. It is marked by fluid, textual recombination (e.g., remix, mashup, intermedia trailer, remediation, remake, and fanfiction). The focus in this essay will be on automated writing practices executed through artificial neural networks or deep-learning applications that algorithmically recognize and imitate writing patterns as further typical manifestations of aesthetic practices in an information-rich society. It assesses these algorithmic writing practices as digital art, in relation to modernist, surrealist, and Dadaist avant-garde experimentation with automated writing. In addition, the essay raises the question of the present role and function of adaptation as a genre, and adaptations as texts, as quite separate from adapting as a human cultural technique (Kulturtechnik) in the context of newly defined modalities and cultural literacies. Advocating a wide notion of adaptation, the contribution launches a definition of posthuman adaptation that applies Actor-Network Theory to adaptation studies.

scholarly journals ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME

2020 ◽  
Vol 5 ◽  
pp. 649
Author(s):  
Ieva Gintere
Keyword(s):  
Knowledge Transfer ◽  
Modern Art ◽  
Digital Games ◽  
Digital Art ◽  
Cultural Backgrounds ◽  
Written Information ◽  
University Of Applied Sciences ◽  
Historical Heritage ◽  
Near Future ◽  
Art Game

The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future. This paper continues previously published research that helped to create the concept and design of Art Space, and focuses on the trends of photorealism and futurism. 

scholarly journals A Customer Integration Framework for the Development of Mass Customised Housing Projects

2020 ◽  
Vol 12 (21) ◽  
pp. 8901
Author(s):  
Cynthia dos Santos Hentschke ◽  
Carlos Torres Formoso ◽  
Marcia Elisa Echeveste
Keyword(s):  
Business Strategy ◽  
Design Science ◽  
Methodological Approach ◽  
Residential Building ◽  
Science Research ◽  
Customer Integration ◽  
Mass Customisation ◽  
Housing Projects ◽  
Definition Of ◽  
House Building

Mass customisation is a business strategy that aims to deliver a variety of products that fulfil customer requirements and, at the same time, keep price and delivery time within acceptable limits. It has been adopted in different sectors to increase value generation, including house building. A major challenge in mass customisation is customer integration, i.e., how to improve value generation by understanding and considering requirements from different customers, and defining their involvement in product development. Most studies on this topic tend to be technology-focused, often being limited to methods and digital tools to generate and display product alternatives. The aim of this paper is to propose a framework of decision categories for customer integration and for devising the scope of customisation to support the definition of mass customisation (MC) strategies. Design science research was the methodological approach adopted in this investigation. It was based on a literature review about mass customisation practices and also on an empirical study developed in a residential building company from Brazil. The main contribution of this paper is a framework for customer integration, which contains a set of decision categories related to the definition of the scope of customisation and customer integration, and a list of practices that are applicable to house building. A secondary contribution of this investigation is a set of constructs that have been used to describe the decision categories and their relationships.

Successful Practices in ICT Team Building in International Projects

2021 ◽  
pp. 257-285
Author(s):  
Clara Silveira ◽  
Renato Duarte ◽  
Leonilde Reis
Keyword(s):  
Interpersonal Relations ◽  
Design Science ◽  
Team Building ◽  
Science Research ◽  
Added Value ◽  
Software Products ◽  
International Projects ◽  
Design Science Research Methodology ◽  
Definition Of ◽  
Scientific Validation

The purpose of the chapter is to address the importance of building the project team in order to contribute to maximize the number of project success histories in an international context. The design science research methodology allowed, based on the literature review on the thematic domain, to elaborate a reference framework in order to obtain the scientific validation of the work. The main conclusions focus on presenting the added value of the team building in the implementation and adaptation of software products. The need to define strategies when setting up the teams is emphasized, so that specialists are incorporated in the various domains, taking into account the specificity of the country in which the project will take place. Thus, the definition of team formation policies is considered a differentiating factor, in order to include the knowledge in the domains of the culture of the country, organizational culture and current legal and fiscal frameworks as well as the interpersonal relations component.

Co-Creation and Public Archaeology

2015 ◽  
Vol 3 (3) ◽  
pp. 178-187 ◽  
Author(s):  
Elizabeth Bollwerk ◽  
Robert Connolly ◽  
Carol McDavid
Keyword(s):  
Case Studies ◽  
General Public ◽  
Public Archaeology ◽  
Dual Purpose ◽  
Important Place ◽  
The Public ◽  
Current Trends ◽  
Definition Of ◽  
Business Sectors ◽  
Descendant Communities

AbstractThis paper serves a dual purpose. First it is an introduction that aims to frame a set of papers that describe and discuss the process of co-creation in a variety of archaeological projects. We discuss the challenge of community engagement in public archaeology and offer co-creative practice as a method for improving our relationships with descendant communities and the general public. We begin by providing a definition of public archaeology and a brief overview of its evolution over the last few decades. Second, we discuss co-creation’s origins and utilization in the museum and business sectors, where the process is applied to address challenges similar to those archaeologists face. We then demonstrate how co-creation fits into the public/applied archaeological framework. We argue that co-creation must be both co (that is, share power in some way) and creative (that is, not just do the same things better, but do something new). Within this framework, we discuss how co-creation aligns with and informs current trends in public archaeology practice drawing from the case studies included in this issue. We conclude that co-creation has an important place on the collaborative continuum and can help our discipline become more responsive to the needs of our many publics.

Two Representations of the Moscow Art Theater Audience

2020 ◽  
Vol 17 (5) ◽  
pp. 462-476
Author(s):  
Alexander A. Ushkarev ◽  
Galina G. Gedovius ◽  
Tatyana V. Petrushina
Keyword(s):  
Online Community ◽  
Modern Art ◽  
Virtual Space ◽  
Demographic Parameters ◽  
Cultural Consumption ◽  
Cultural Activity ◽  
Behavioral Differences ◽  
Technological Revolution ◽  
Definition Of

The technological revolution of recent decades has already brought art to the broadest masses, and the unexpected intervention of the pandemic has significantly accelerated the process of migration of theatrical art to the virtual space, causing the corresponding dynamics of the audience. What is the theater audience in the era of digitalization and the spread of alternative forms of cultural consumption? How does the theater build its relationship with the audience today? In search of answers, we conducted a series of sociological surveys of the Chekhov Moscow Art Theater’s audience — both at the theater’s performances and in the online community of its fans. The purpose of this phase of the study was to answer the fundamental questions: do spectators surveyed in the theater and those surveyed online represent the same audience; what are their main differences; and what are the drivers of their spectator behavior? The article presents the main results of a comparative analysis of two images of the Moscow Art Theatre’s audience based on a number of content parameters by two types of surveys, as well as the results of a regression analysis of the theater attendance. The study resulted in definition of the qualitative and behavioral differences between the theater visitors and the viewers surveyed online, and identification of the factors of theater attendance for both of the represented audience groups. The study made it possible to clarify the role of age and other socio-demographic parameters in cultural activity, as well as the influence of preferred forms of cultural consumption (live contacts or online views) on one’s attitude to art, motivation and spectator behavior. The conclusions of the study, despite the uniqueness of the object, reflect the general patterns of the modern art audience’s dynamics.

THE DEVELOPMENT OF THE JUDICIAL DEFINITION OF MATERIALITY

1990 ◽  
Vol 17 (2) ◽  
pp. 113-123 ◽  
Author(s):  
LuAnn Bean ◽  
Deborah W. Thomas
Keyword(s):  
Court Cases ◽  
Accounting Profession ◽  
Current Trends ◽  
Course Of Action ◽  
Definition Of ◽  
Over Time

Determining what should be considered a material item has been a problem for both the accounting profession and the courts. By reviewing the court cases involving the issue of materiality, the authors have determined where differences in the materiality standard as applied by the courts exist. The judicial definition of materiality has developed over time, and current trends with important variations are observed. Based upon the authors' analysis, the following judicial definition of materiality, with its possible variations, is suggested: Would the reasonable (or speculative) investor (or layman) consider important (or be influenced by) this information in determining his course of action?

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