Esta pesquisa busca delinear características do processo de criação de objetos interativos. Isso é feito a partir da verificação de possibilidades de interlocuções de saberes advindos de quatro áreas do conhecimento - arquitetura, design, arte e computação - dentro do contexto das tecnologias digitais de informação e comunicação. Através desta perspectiva, acredita-se ser possível tanto uma compreensão mais fundamentada dos fenômenos tecnológicos do início de século XXI quanto a extração de direções para a ação no mundo contemporâneo. / This research aims to delineate characteristics from the creation process of interactive objects. This is done through the verification of interlocution possibilities from four knowledge domains - Architecture, Design, Art and Computation - inside the information and communication digital technologies context. Via this perspective, it is believed that a more fundamental understanding of the technological phenomena from the beginning of the 20th century is possible, as much as the extraction of directions for action in the contemporary world.

\"Sobre jogos e não-jogos: um estudo sobre curadoria de jogos digitais experimentais\" pretende discutir a questão acerca de jogos digitais experimentais em espaços expositivos tais como galerias, museus e festivais, através de um levantamento de propostas curatoriais de exposições nacionais e internacionais. A presente dissertação é baseada em um levantamento bibliográfico sobre curadoria contemporânea em artes visuais e em experiências de práticas curatoriais de jogos digitais em espaços expositivos, e também em entrevistas com curadores, desenvolvedores e pesquisadores de jogos digitais independentes. Este trabalho também propõe uma análise crítica sobre a crescente presença dos jogos experimentais em ambientes artístico-culturais e seu pertencimento a estes espaços como objetos capazes de promover experiência estética. / \"About games and notgames: a study about experimental digital games curatorship\" intends to discuss the issue concerning experimental digital games in exhibition spaces such as galleries, museums and festivals, through a survey of curatorial proposals for national and international exhibitions. The present dissertation is based on a literature review on contemporary curatorship in visual arts and experiences on curatorial practices of digital games in exhibition spaces, and also on interviews with curators, researchers and developers of independent digital games. This work also suggests a critical analysis of the growing presence of experimental games in artistic and cultural environments and their belonging to these spaces as objects capable of promoting aesthetic experience.

Avanços tecnológicos recentes inauguraram novas possibilidades estéticas devido ao potencial de integração de diversos meios, códigos e linguagens. Consequentemente, as tradicionais fronteiras entre as áreas artísticas dissolveram-se e estímulos simultâneos a vários sentidos foram introduzidos. A inclusão do corpo e seus aspectos cognitivos em interação direta com códigos computacionais é fato irreversível na arte contemporânea e seus aspectos e consequências ainda não foram completamente compreendidos. Este trabalho tem como objetivo investigar, sistematizar e utilizar os conhecimentos sobre sinestesia na arte, destacando o caso das obras artísticas interativas que correlacionam voz e imagem. Em função disto, foram propostas: a) a realização de estudos sobre o fenômeno da sinestesia no contexto da ciência e da arte; b) a busca de uma definição para a voz; c) a pesquisa por referências estéticas que abordaram a questão; e d) a realização de trabalhos experimentais correlacionados ao tema. Os métodos de pesquisa utilizados foram: revisão bibliográfica - a partir de um enfoque multidisciplinar, englobando referências tanto da neurociência quanto de outras áreas -, seleção e análise de trabalhos artísticos interativos contemporâneos que abordaram a questão da sinestesia e da interação entre voz e imagem, e investigação estética a partir da realização de propostas poéticas experimentais. Os principais resultados obtidos foram: a compreensão da trajetória dos estudos sobre sinestesia na ciência e a atualização dos conhecimentos sobre o assunto; apontamentos sobre a contextualização da sinestesia na arte; a definição da voz como corporificada e relacionada a todos os sentidos incluídos na unidade do corpo; e a realização de três trabalhos experimentais, dois coletivos sobre sinestesia e um individual que explora a relação entre voz e visualidade. / Recent technological advances opened new aesthetic possibilities in art, due to its potentiality to integrate several medias, codes and languages. Consequently, the traditional boundaries between artistic areas were dissolved and simultaneous stimuli to various senses were introduced. The occurence of the body and its cognitive aspects in interaction with computer codes is an irreversible fact in contemporary art, and its aspects and consequences have not been fully understood. This work aims to investigate, systematize and use the information about synesthesia in arts, highlighting the case of interactive art works connecting voice and image. Therefore, it was proposed: a) the study of the synesthetic phenomenon and how it is treated in both science and arts; b) the definition of voice; c) the search for aesthetic references in interactive arts addressing this issue; and d) the development of experimental works related to this subject. The adopted methodology consisted of: bibliographical review - with a multidisciplinary approach, encompassing references from neuroscience and other areas - , selection and analysis of contemporary interactive artworks adressesing aspects of synesthesia and the voice-image interaction, and aesthetic research based on experimental artworks. Our main results were: understanding the trajectory of the studies about synesthesia in science and updating the knowledge on the subject; notes on the context of synesthesia in art; the definition of voice as an embodied entity, related to all the senses included in the body unit; and the development of three experimental works of art, two collective works about synesthesia, and an individual one that explores the relationship between voice and visuality.

Creating and performing electroacoustic music utilising interactive systems is now a well-established paradigm. Sensing technology can map gestures to sound generating processes, capturing the nuances of a gesture and sculpting the sound accordingly. Interactive installations enable audiences to become part of the process of realising a creative work. Yet many of the models and frameworks for interactive systems, specifically music focused systems, are strongly oriented around a MIDI event based framework, with little or no provision to accommodate the potentials of more dynamic approaches to creative practice. This research seeks to address the lack of appropriate models currently available and come to a more contemporary understanding of interactive music making. My approach follows two trajectories. Firstly, I undertake a comprehensive review of interactive creative works, encompassing the live electronic music of the 1950s and 1960s, interactive installation, digital musical instruments and computer networked ensembles. Secondly, I explore and draw together proposed definitions, models and classifications of interactive systems, clarifying concepts such as mapping, processing, gesture and response. The concepts are tested in a folio of creative works that form the creative research. VIDEO AND AUDIO FILES CAN BE ACCESSED AT UWS LIBRARY / Doctor of Philosophy (PhD)

Digital media technologies are becoming increasingly and extensively integrated into our way of living. We communicate, inform and entertain ourselves through media technologies in disparate spaces. When digital technology is integrated into our everyday environment, the border between media interfaces and physical environments is blurred. Traditional divisions of spaces dissolve and are rearranged, complicating the linkages between private and public spheres.   The key phenomenon shaping these experiences with digital media technologies is interactivity. Interactivity intersects these spaces allowing users of mediated content to be affected by the actual, and vice versa. This study has emerged through the need for further research focusing on the term interactivity in today’s media practices, contributing with more targeted research and theoretical work concerning the interconnection between space and digital technologies. The study pursues interactivity by taking on a different perspective than earlier research, staging a qualitative study from a grounded theory perspective complemented by phenomenological theory. In this way interactivity is approached from diverse angles, moving away from earlier fixations on technology and placing it within social and spatial contexts.   The study uses three contemporary Scandinavian interactive art installations, ‘Colour by Numbers’, ‘Emotional Cities’ and ‘Climate on the Wall’, to explore how interactivity plays into the relation between humans, technology and social space. The integration of interactive art installations in public space raises issues regarding humans’ sense of space and human relations vis-à-vis interactions with such artworks. The study finds evidence that interactive art installations can shift humans’ perceptions of space, allowing them to have social experiences and feel locally connected or anchored. Humans do not necessarily become placeless due to interactive technology. It may as well enhance space by converging with existing spatial references. The mediated and the actual may re-enforce each other expanding and transcending diverse spaces.

The creation of expressive styles for digital art is one of the primary goals in non-photorealistic rendering. In this paper, we introduce a swarm-based multi-agent system that is capable of producing expressive imagery through the use of multiple digital images. At birth, agents in our system are assigned a digital image that represents their 'aesthetic ideal'. As agents move throughout a digital canvas they try to 'realize' their ideal by modifying the pixels in the digital canvas to be closer to the pixels in their aesthetic ideal. When groups of agents with different aesthetic ideals occupy the same canvas, a new image is created through the convergence of their competing aesthetic goals. We use our system to explore the concepts and techniques from a number of Modern Art movements and to create an interactive media installation. The simple implementation and effective results produced by our system makes a compelling argument for more research using swarm-based multi-agent systems for non-photorealistic rendering. / Graduate

Thesis (Ph.D.)--University of Western Sydney, 2007. / A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Title from title screen. Includes bibliographies. Thesis minus video and audio files also available online at: http://handle.uws.edu.au:8081/1959.7/35367.

Esta pesquisa busca delinear características do processo de criação de objetos interativos. Isso é feito a partir da verificação de possibilidades de interlocuções de saberes advindos de quatro áreas do conhecimento - arquitetura, design, arte e computação - dentro do contexto das tecnologias digitais de informação e comunicação. Através desta perspectiva, acredita-se ser possível tanto uma compreensão mais fundamentada dos fenômenos tecnológicos do início de século XXI quanto a extração de direções para a ação no mundo contemporâneo. / This research aims to delineate characteristics from the creation process of interactive objects. This is done through the verification of interlocution possibilities from four knowledge domains - Architecture, Design, Art and Computation - inside the information and communication digital technologies context. Via this perspective, it is believed that a more fundamental understanding of the technological phenomena from the beginning of the 20th century is possible, as much as the extraction of directions for action in the contemporary world.

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