17. Electro Arts, a Tool of Interactive Digital Education: A Case Study

This research analyses the impact of the Elektro Arts Festival on the attending audience, based on the responses offered by 98 respondents, highlighting the socio-demographic characteristics of the participants, the interest in computer art and realising an evaluation of the event’s quality by emphasizing preferences and customs of cultural consumption and identifying the communication and advertising channels preferred by the audience. The organizers of the future editions of the event obtained the necessary feedback on the interest manifested in digital arts as well as on the satisfaction and the preferences of the audience. The Elektro Arts Festival is considered an innovative environment propitious to IT-mediated artistic expression, and the newly organized editions have been linked to the research in the field of computer-based numerical technologies.

Research on Artificial Intelligence Interaction in Computer-Aided Arts and Crafts

Background. With the continuous maturity of computer software and hardware technology, the theory and method of computer-aided art design have developed rapidly. Objective. Applying artificial intelligence theory to computer-aided process art design is one of the newly developed research hotspots, and it is also the development trend of industrial design modernization. Methods. On the one hand, it can transplant the research results in the field of artificial intelligence into computer-aided art design, and on the other hand, it expands the application field of artificial intelligence, so that the two can be perfectly combined to promote common development. Results. With the development of artificial intelligence technology, computer art has gradually become a very active field, and a large number of computer art works are available every year. Conclusions. This paper briefly describes the basic concepts of computer-aided art design and artificial intelligence and discusses the application of artificial intelligence in computer-aided art design.

Waldemar Cordeiro e a Arteônica

Na passagem dos anos 1960 para os 1970, o artista brasileiro Waldemar Cordeiro (1925-1973) desenvolve suas primeiras obras em computer art a partir da aplicação do conceito matemático de “função derivada”. Na mesma época, organiza e participa de mostras e desenvolve uma série de ensaios antevendo que a utilização de recursos digitais seria um processo inevitável para o futuro da recepção da informação e da comunicação artística. Um olhar atento para a produção artística e teórica de Waldemar Cordeiro, depois de quase cinquenta anos de suas primeiras investidas no campo da arte e tecnologia, é uma excelente oportunidade não somente para revisitarmos sua trajetória, mas também para reescrevermos a história da arte digital e do pensamento sobre ela, colocando o Brasil e a América Latina em lugar central, e não periférico, em relação às narrativas europeias e estadunidenses. Waldemar Cordeiro e a Arteônica: reescrituras da arte digital no Brasil e na América Latina divide-se em três momentos. No primeiro, faremos uma pequena aproximação entre os teóricos da estética informacional e os ensaios de Waldemar Cordeiro, especialmente a partir de um dos seus textos mais instigantes, Arteônica, publicado no início dos anos 1970. No segundo momento, realizaremos uma breve leitura sobre a fase concretista e do concretismo semântico (ou popcretos) de Waldemar Cordeiro; discussão fundamental para o entendimento das questões colocadas pela fase da computer art (1969-1973). Para finalizar, analisaremos suas obras em arteônica no sentido de destacarmos as características de sua produção e sua relação com o contexto do país.

Computer art: software art design

El artículo presenta trabajos artísticos desarrollados en el Computational Art Research Laboratorio Media Lab / UnB, realizado en equipo, bajo mi coordinación. La producción artística y teórica buscaba defender la idea de que el arte computacional es una nueva forma de arte apreciado, basado en el supuesto de que contiene muchos de los componentes de una filosofía completa de una forma de arte, que se puede resumir en cuatro referencias básicas: una definición, una ontología, características estéticas y el reconocimiento de su condición de arte. Lo que actualmente se llama arte computacional se basa en la observación de que los experimentos en este dominio implican problemas comunes más generales, in statu nascendi, a los dominios artísticos y tecnocientíficos, que proporcionan los modos de estructuración, la metodología y las técnicas de programación, introducidas en el proceso. El arte computacional no siempre usa la computadora, a veces es basado únicamente en operaciones lógico‐ matemáticas. Sin embargo, las computadoras tenían un profundo impacto en las artes, y con el fin de realizar una síntesis parcial, basada en un teoría de la estética en la actualidad, se seleccionó un conjunto de obras artísticas que engloban los temas siguientes: la computadora como un amplificador de complejidad (métodos computacionales de la creación); lenguaje computacional; el artista desarrollador; arte computacional como arte de la multitud y no del individuo; trabajo de laboratorio; software art (presentación y análisis de algoritmos históricos como permutación, aleatorio, etc.); la apreciación de la interfaz hombre‐computadora (destacando la importancia del juego), que posibilitó una mayor interactividad pública con la obra artística; la apropiación de los medios con fines artísticos; el compromiso artístico con los problemas sociales y ecológicos originados por los avances tecnocientíficos y la política de informatización de la sociedad y proposiciones relacionadas con el futuro, formuladas filosóficamente en la era posbiológica. Buscamos desarrollar poéticas que resultaron de la colaboración entre seres vivos y máquinas.

Preprofessional orientation of teenagers by means of computer art

This article examines the system of designing classes aimed at immersion of teenagers in modern professions related to computer art. The relevance of this topic is substantiated by modern trends in socioeconomic development of our country. The development of creative abilities is a good foundation for acquiring new scientific and technical information; it accelerates the processing and generation of novel and useful ideas. The object of this research is preprofessional orientation of teenagers. The subject is the methodology of teaching graphic editors based on the specificity of its use in modern professions. The article employs the modeling, analysis, and generalization. The project laboratory of computer graphics and design at the premises of Lyceum in the town of Balashikha under the Bauman Moscow State Technical University, became the framework for this research. The conclusion is made that project work helps teenagers to acquire strong knowledge in the area of application of modern graphic editors, valuable practical skills and abilities, such as hard work, discipline, work culture, teamwork. In the course of this research, the author examined the possibility of application of modern instrumental and software tools for creating animated videos using the stop-motion technique, as well as developed the instruction on using technical means to achieve the set goals.

Encoded Perception

Despite her status as an unpaid “resident visitor” for most of her nearly two-decade tenure there, Lillian Schwartz created some of the most important works of early computer art at Bell Labs. This essay unravels the conceptual frameworks of “vision” as they manifest in Schwartz’s early computer films made between 1970 and 1972, with a specific emphasis on vision as “information” and “data.” It argues that these specific films in Schwartz’s oeuvre explored a newly emerging model of vision based on the rendering practices of computers and scientific instruments, while navigating the fraught question of the role of the embodied viewer. Resisting this rationalized order of vision, which would ultimately result in the emergence of information as both a commodity and an asset class, Schwartz’s films instead explore the contingencies of rendering information with the newly developing medium of the computer.