I-lugar : imersão no património cultural mediado por média-arte digital

Um lugar é um espaço geográfico delimitado pela natureza ou pela ação do homem. Mas alguns destes lugares tornam-se excecionais pela estética configurada pela ação da natureza, por estarem associados a eventos históricos, por terem servido de inspiração artística ou por serem eles próprios o resultado de produção artística. Estes espaços tornam-se assim lugares de património cultural (material, imaterial) ou natural, com memória e poética próprias, pela sua delimitação, configuração ou artefactos neles presentes, integrados numa narrativa que materializa o conceito de estética do lugar. A fruição destes lugares é efetuada normalmente por visita física, utilizando-se informação disponível sob a forma de folhetos, placas/sinalética e em alguns casos por guias digitais, ou por visita remota via website. No entanto, a evolução da tecnologia ao nível da realidade aumentada, hipermédia, utilização de Internet e dispositivos móveis, aliada ao conceito de média-arte digital, permite encontrar outras soluções. No entanto, estas soluções devem possibilitar uma forma de imersão e interação, enquadrada numa narrativa, que permita uma fruição mais reflexiva do lugar sob a forma de diálogo em busca da sua essência. Esta investigação utiliza um artefacto digital designado I-Lugar criado no contexto da investigação, utilizando website/blog (forma de hipermédia), narrativas digitais e realidade aumentada para testar este tipo de solução. O artefacto está centrado na necessidade de criar um meio de perceção da essência do lugar através da reflexão pela literatura, aplicando o pensamento de Heidegger (2016) relacionado com a origem da obra da arte e a literatura como forma de reflexão segundo Candido (2011), neste caso, aplicada a lugares de património. Seguindo uma metodologia baseada em estudos de caso, questionários e no processo de criação em média-arte digital, esta investigação descreve o artefacto I-Lugar e a sua aplicação a património natural (Jardim Calouste Gulbenkian) e património cultural (Fernando Pessoa e Street Art Lisbon). Como resultado da estratégia de validação da investigação são apresentadas as conclusões sobre a adequação do conceito utilizado na solução, face aos 45 questionários de avaliação sobre a intervenção com o artefacto I-Lugar e 16 questionários enviados a entidades gestoras de património, sobre o conceito em investigação. Em síntese, esta investigação tem como propósito estudar a forma como se podem conjugar narrativas digitais, hipermédia e realidade aumentada para melhorar a perceção e descoberta do público sobre a essência dos artefactos no seu contexto enquanto lugar de património. Isto é, na perceção estética que permita despoletar emoção na fruição, por imersão na poética do lugar, utilizando literatura para a reflexão sobre o lugar e seus artefactos.A place is a geographical space delimited by the nature or action of man. But some of these places become exceptional, because of the aesthetics set by the action of nature, because they are associated with historical events, because they have served as artistic inspiration or because they themselves are the result of artistic production. These spaces thus become places of cultural (material, immaterial) or natural heritage, with their own memory and poetics, for their delimitation, configuration or artefacts present in them, integrated in a narrative that materializes the concept of the aesthetics of the place. The enjoyment of these places is usually done by physical visit, using information available in the form of leaflets, signage and in some cases, by website or digital guides. However, the evolution of technology in terms of Augmented Reality, hypermedia, use of the Internet and mobile devices, coupled with the concept of digital media art, allows finding other solutions. However, these solutions must also enable a form of immersion and interaction, framed in a narrative, that allows a more reflexive enjoyment of the place in the form of dialogue, in search of its essence. This research uses a digital artifact designated I-Place created in the context of research using website/blog (hypermedia form) and Augmented Reality to test this type of solution. The artifact is centered on the need to create a means of perceiving the essence of the place through reflection by literature, applying the thought of Heidegger (2016) related to the origin of the work of art and literature as a way of reflection according to Candido (2011), in this case, applied to heritage sites. Following a methodology based on case studies, questionnaires and the process of creation in digital art, this research describes the artefact I-Lugar and its application to natural heritage (Calouste Gulbenkian Garden) and cultural heritage (Fernando Pessoa and Street Art Lisbon). As a result of research validation strategy, we present the conclusions about the adequacy of the concept used in the solution, considering the 45 evaluation questionnaires on the intervention with the I-Lugar artifact and 16 questionnaires sent to entities responsible for heritage places management, to evaluate the concept under investigation. In summary, this research aims to study how digital narratives, hypermedia and Augmented Reality can be combined to improve public perception of the discovery of the essence of artefacts in their context as a heritage site. That is, in the aesthetic perception that allows to trigger emotion in the fruition, by immersion, in the poetics of the place, using literature to reflect on the place and its artifacts

Image and Evidence: The Study of Attention through the Combined Lenses of Neuroscience and Art

: Levy, EK 2012, ‘An artistic exploration of inattention blindness’, in Frontiers Hum Neurosci, vol. 5, ISSN=1662-5161.Full version unavailable due to 3rd party copyright restrictions.This study proposed that new insights about attention, including its phenomenon and pathology, would be provided by combining perspectives of the neurobiological discourse about attention with analyses of artworks that exploit the constraints of the attentional system. To advance the central argument that art offers a training ground for the attentional system, a wide range of contemporary art was analysed in light of specific tasks invoked. The kinds of cognitive tasks these works initiate with respect to the attentional system have been particularly critical to this research. Attention was explored within the context of transdisciplinary art practices, varied circumstances of viewing, new neuroscientific findings, and new approaches towards learning. Research for this dissertation required practical investigations in a gallery setting, and this original work was contextualised and correlated with pertinent neuroscientific approaches. It was also concluded that art can enhance public awareness of attention disorders and assist the public in discriminating between medical and social factors through questioning how norms of behaviour are defined and measured. This territory was examined through the comparative analysis of several diagnostic tests for attention deficit hyperactivity disorder (ADHD), through the adaptation of a methodology from economics involving patent citation in order to show market incentives, and through examples of data visualisation. The construction of an installation and collaborative animation allowed participants to experience first-hand the constraints on the attentional system, provoking awareness of our own “normal” physiological limitations. The embodied knowledge of images, emotion, and social context that are deeply embedded in art practices appeared to be capable of supplementing neuroscience’s understanding of attention and its disorders