Computer Multimedia Art Pattern Creation Based on P-Filling Algorithm

Art education is an important part of quality education in China. It undertakes the important responsibility of cultivating students' aesthetic ability, art appreciation ability, art perception ability, and expression ability. In junior middle school art teaching, the skill of pattern creation is an ability that needs to be focused on cultivating students. The computer multimedia art patterns are currently created mainly relying on manual drawing. A computer multimedia art pattern production model is proposed based on the P-filling algorithm in this paper. After using the P-filling algorithm to quickly generate a large number of fake images and retrieve the code of the most recent damaged image, the code estimates the missing content by generating a model. On this basis, the semantic P-filling algorithm and the perceptual P-filling algorithm are combined, and the unsaturated region is enlarged by improving the activation function sigmoid function, which solves the problem that the gradient is easy to disappear. Experimental results show that, through this production model, users can produce a large number of computer multimedia art patterns with hand-drawn style features through very little interaction and parameter control.

“There Is No Form in the Middle”

Across his vast body of multimedia art, Kevin Jerome Everson pursues sophisticated formal exercises that deploy representational devices with the aim of achieving “massive abstractions.” Focusing on the sculptural potential of film as a time-based medium, Everson crafts his films as sculptural objects. It is a process that works toward a point of critical density in which time's material effects on a space, a body, or the screen are rendered visible. In order to reach this point, Everson has developed a rigorous practice that includes casting his own solid rubber props, carefully choreographing films that repeat formal and bodily gestures, and making oblique references to cinematic history and its foundational relationship to factory labor. In this interview the liquid blackness editors speak with Everson about his “massive” creative project; its pursuit of layered self- referentiality; the work's sheer size (measured in labor hours, custom props molded, and film titles); his fine art training; artistry as the mastery of craft; the high art of Richard Pryor; his hesitant, delicate approach to blackness; and the possibility of a midwestern, or specifically Mansfield, Ohio, artistic sensibility.

Application and Analysis of Art Design Based on Computer 3D Technology

Objectives: Multimedia art design has entered into our life and spread rapidly, and even almost all visual related areas have traces of digital art design. Methods: This paper takes multimedia design as the theme, the research of the multimedia art design environment, discusses the general elements of visual design, the original multimedia art design, as well as the factors of multimedia pattern design is the key problem; Results: At the same time the application of category of multimedia design are studied deeply; Conclusion: Finally pointed out facing multimedia pattern design challenges and need to address the issue, to explore the future of multimedia design.

Unleashing the Sounds of Silence: Hong Kong’s Story in Troubled Times

Hong Kong’s story is difficult to tell, commented Leung Ping-kwan (1949–2013) in consideration of the city’s complicated historical configuration as well as of the aesthetic reflection on the same by the writers and artists that have come to shape and promote the colonial city’s unique culture. Confronting the post-handover government’s suppression of democratic decision-making with massive street protests, the next generation of cultural producers continues to critically interrogate, contest, and subvert the official genealogy and nationalist master narrative. In response to the various factors contributing to the ongoing silencing of the city’s critical voices, many artists, directors, and writers have turned to (absent) sound as the aesthetic signifier of the sociopolitical turn from hope and reconciliation to despair. Their performative silence simultaneously protests and mourns the denunciation, suppression, and erasure of oppositional groups. In this paper, I apply a methodological cluster comprising concepts from ecocriticism, microhistorical-discourse analysis, social anthropology, and other disciplinary fields to address the ramifications of Hong Kong’s story as inscribed within protest-related literary, visual and multimedia art productions. Street art performance, handover-themed art exhibitions, Wong King Fai’s video “Umbrella Dance for Hong Kong,” and Samson Young’s sonic multimedia installations appositely illustrate the conundrum addressed.

Species Suicide Notes

This article tracks the history of species suicide, a phrase that originally referred to a potential nuclear holocaust but is now increasingly cited in Anthropocene discourses to account for continued carbon emissions in the face of catastrophic climate change. With its Anglophone roots in the Cold War, species suicide discourse unites concerns about nuclear arsenals, so-called overpopulation, and environmental injustice across disciplines. Species suicide discourse is indebted to the US-based field of suicide prevention, which for more than half a century has analyzed suicide notes in search of effective prevention methods. Therefore, to theorize suicide prevention in relation to anthropogenic climate change, this article imagines a version of this genre that mediates between individual and collective subjects—called a species suicide note. As an example, the interdisciplinary and multimedia art project “Dear Climate” (2012–ongoing) by Una Chaudhuri, Oliver Kellhammer, and Marina Zurkow rewrites familiar narratives of crisis, shifting species suicide notes toward irony and unconventional techniques of hope. In analyzing these performative species suicide notes, the author complicates species suicide prevention by foregrounding narratives of irony. These notes accentuate a self-reflexive irony that works toward climate justice for vulnerable humans and more-than-human species.

The Sounds of Zombie Media

This chapter investigates how do-it-yourself (DIY) cultures in New York City and Berlin make sound and music with “zombie media,” or physical materials rescued from obsolescence that are recycled, repurposed, and reanimated. In situating DIY repurposing practices within a context of conspicuous production, or the tendency to obsess over constant invention and fabrication, it explores zombie media as experimental instrument building, sound art, and multimedia art. Through solo tinkering, group workshops, concerts, and exhibits, participants employ the DIY ethos present in underground and experimental music and art scenes, as well as maker and hacker cultures, to explore the aesthetic, material, and cultural value of electronics at various life stages and afterlives. Some of their tools and techniques of repurposing include: circuit bending, hardware hacking, scavenging electronic waste, and repairing broken audio equipment. Drawing on discussions of the zombie, ranging from its original Haitian context to its widespread use as a symbol for the anxieties of late capitalism and overconsumption, the chapter shows how participants engage infrastructures of waste through an ethic of aversion, cultivating sustainability skills that demonstrate “productive” uses of time and materials, but which nevertheless embody conspicuous production. The lure of zombie media is its reanimating power—a resourcefulness-through-resistance that operates via sincerely held beliefs about labor, frugality, and conserving material goods.

Sound, Media Art, and the Metaverse

The author discusses the fundamental role of sound in global cultures, introduces related perceptual and scientific phenomena such as synesthesia, and provides an overview of their relationship to the development of transmodal multimedia art and design forms emerging at the intersection of physical and digital media, including wireless technologies, social networks, and ubiquitous computing. The article is an edited version of the introductory address given at the opening event of Si15 Soundislands Festival, on Wednesday 19 August 2015, at the Arts House, Singapore.