Global ETD Search

11	GAME OVER: O CORPO (EM) DELITO NA ARTE CONTEMPORÂNEA / GAME OVER: THE BODY (IN) EVIDENCEIN CONTEMPORARY ART Cichelero, Marcos 30 March 2015 (has links) This research in visual poetics aims to contribute to the formulation of reflections in contemporary art regarding the production in Art and Technology, through the creation of a gameart called Game Over and the presentation of this as interactive installation. This gameart was produced in immersive and interactive virtual environment, through the free Open Simulator platform that promotes the creation of virtual worlds. These environments are consisted as experimental places in contemporary art, being also called possible worlds and through his presentation in the form of interactive installation, search convergence between the material world and the virtual world. Virtual environments, created by numerical technology, are universes full of singularities to be explored, giving rise to new reflections in the field of art. The game in question will have as its main element body of evidence , which is in essence the criminal fact. Through an examination of body of evidence takes place the criminal forensics to determine the factors that attempt to clarify what has happened. It is intended to relate issues intrinsic to gameart as the simulation and subversion of reality, temporality, among others, issues that arise from the body of evidence and the interaction of this in the digital environment. To clarify the proposition presented in this study, we start from a research in art, through a constant dialogue between the theoretical reflection and artistic practice. Begins this research from one approach to the game concepts and gameart that target the potential of virtual environments and its relation to the body of evidence . / A presente pesquisa em poéticas visuais visa contribuir para a formulação de reflexões na arte contemporânea no que tange à produção em Arte e Tecnologia, especialmente em gamearte, por meio da criação de um gamearte denominado Game Over e a apresentação deste como instalação interativa. Tal gamearte foi produzido em ambiente virtual imersivo e interativo, através da plataforma livre Open Simulator que propicia a criação de mundos virtuais. Estes ambientes se constituem enquanto lugares de experimentação na arte contemporânea, sendo também chamados de mundos possíveis; e através de sua apresentação na forma de instalação interativa, busca a convergência entre o mundo físico e o mundo digital. Os ambientes virtuais, criados pela tecnologia numérica, são universos repletos de singularidades a serem exploradas, dando origem a novas reflexões no campo da arte. O gamearte em questão tem como elemento principal o conceito corpo de delito , que é em essência o fato criminal. Através do exame de corpo de delito realiza-se a perícia criminal a fim de determinar os fatores que visam esclarecer o ocorrido. Pretendeu-se relacionar questões intrínsecas à gamearte como a simulação e subversão da realidade, a temporalidade, entre outras, com questões que advêm do corpo de delito e a interação deste no meio digital. Para esclarecer a proposição apresentada neste estudo, partimos de uma pesquisa em arte, através de um diálogo constante entre a reflexão teórica e a prática artística. Iniciou-se esta pesquisa a partir de uma abordagem sobre os conceitos de jogo e de gamearte que se direcionam as potencialidades dos ambientes virtuais e sua relação com o corpo de delito . Gamearte Realidade virtual Instalação interativa Interfaces de acoplamento Corpo de delito Gamearte Virtual reality Interactive installation Coupling interfaces Body of evidence CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES
12	Lost in Place: A case study of an interactive installation for dementia awareness Khanuja, Neeta 19 December 2019 (has links) Empathy is crucial for the wellbeing and happiness of people living with dementia and it comes with a better understanding of symptoms and challenges of the condition. Thus, it is important to spread awareness about dementia. Lost in Place, is an interactive installation that intends to trigger conversations and discussions about dementia by creating an unsettling experience of lack of orientation and lack of familiarity for the audience. It uses fog as a metaphor for losing self-identity and hidden memories. Beyond the specifics of the case-study, the paper elaborates the process of designing an interactive installation explaining the role of four key elements namely site, content, carrier and audience. These attributes can be generalized for understanding and designing an interactive media architecture project of this nature. info:eu-repo/classification/ddc/620 ddc:620
13	Landningsbana för tidsresande Eklund, Mira January 2012 (has links) No description available. perception of sound and music perception of reality virtual objects phantom sensations holographic sound essence of music staging theater semifictivity déjà vu as a method presence body in space switch bodies consciousness historiography soundart sourroundsound binaural recordings interactive sculptures interactive installation perceptive sculpture headphoneconcert perception av ljud och musik verklighetsuppfattning fantomsensationer holografiskt ljud musikens innersta väsen iscensättningar teater semifiktivitet déjà vu som metod närvaro kroppen i rummer byta kropp medvetande historieskrivning ljudkonst surroundljud binaurala inspelingar interaktiv skulptur interaktiv installation perceptiv skulptur hörlurskonsert masteressä Arts Konst
14	Beyond the electronic connection : the technologically manufactured cyber-human and its physical human counterpart in performance : a theory related to convergence identities Sharir, Yacov January 2013 (has links) This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike. 700

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