A Shift In Artistic Practices through Artificial Intelligence

The explosion of content generated by Artificial Intelligence models has initiated a cultural shift in arts, music, and media, where roles are changing, values are shifting, and conventions are challenged. The readily available, vast dataset of the internet has created an environment for AI models to be trained on any content on the web. With AI models shared openly, and used by many, globally, how does this new paradigm shift challenge the status quo in artistic practices? What kind of changes will AI technology bring into music, arts, and new media?Comment: Submitted to Leonardo Journa

THE IMPACT OF THE ECONOMIC CRISIS ON CULTURE

Production began to decline, more and more signs of recession occurred, the GDP diminished in real terms so that the signs of economic crisis became visible in all components of the social system (and in the culture subsystem, as well). In this context, the unanimous striving for international cooperation to find adequate answers to the present global crisis led to the confrontation of principles referring to concrete means of improving the financial institutions and reviving the economy of every country. A common problem of Continental Europe and other zones in crises concerns the pillars on which the economic revival plans should be based. In this respect, economists and practitioners initiated specific debates. Some meetings were attended by Nobel Prize winners for economics. In the culture-crisis confrontation, crisis is an enemy reinventing its weaponry continuously. Culture may defeat it only by means of projects revealing the truth. Culture means truth, accuracy, freedom, information, creativity, etc.Economic development; Economic of Art and Literature; Cultural Economics; Sociology of Economics; Public Policy; Budget; Budget sistems; consumption, saving, Production, Investments; Economic crisis

Toward a model of computational attention based on expressive behavior: applications to cultural heritage scenarios

Our project goals consisted in the development of attention-based analysis of human expressive behavior and the implementation of real-time algorithm in EyesWeb XMI in order to improve naturalness of human-computer interaction and context-based monitoring of human behavior. To this aim, perceptual-model that mimic human attentional processes was developed for expressivity analysis and modeled by entropy. Museum scenarios were selected as an ecological test-bed to elaborate three experiments that focus on visitor profiling and visitors flow regulation

To Archive or Not to Archive: The Resistant Potential of Digital Poetry

This essay addresses the much discussed problem of archiving digital poetry. Digital media are labile, and several writers of digital poetry are incorporating the media’s ephemerality into their poetics. Rather than rehash arguments that have been taking place within the field of digital media and digital poetics for years, I turn to the field of contemporary art curation and preservation, a field in which curators and archivists are struggling with the very immediate concerns, ethical and otherwise, related to archiving works that are made from ephemeral media. One particular digital poem that has recently broken, has recently become unreadable, is Talan Memmott’s Lexia to Perplexia. Memmott composed the poem in 2000, and he incorporated the poem’s inevitable obsolescence into the text of the poem itself. He has since refused to “fix” or “update” the poem, because he contends that that would make it something other than what it was intended to be. Rather, he is choosing to let the poem die because that is what the poem is supposed to do. This essay concludes with a discussion of the political implications of acknowledging the ephemerality of digital media, the resistant potential of the poem when its ephemerality is embraced, and some ways in which archivists can preserve the memory of the poem without necessarily preserving the poem itself

Monitor Newsletter Monthly, May 2004

Official Publication of Bowling Green State University for Faculty and Staffhttps://scholarworks.bgsu.edu/monitor/2498/thumbnail.jp

Editorial

info:eu-repo/semantics/publishedVersio

Gender and Performance: Theatre / Dance / Technology

Editorial For those working in the theory and practice - or both - of performing arts today, we can no longer speak only of drama or even theatre to describe what is actually going on before spectators. A shift of critical and creative interest from dramatic theatres to performance began to infiltrate the Northern hemispheric academy in the 1970’s. In the USA, Joseph Schechner (e.g. Performance Theory. New York: Routledge 2003), in the spirit of Grotowski, Brook, Barba and other theatre leaders’ interest in inter, cross and multiculturality, influentially applied sociology and anthropology to reconfigure what ‘performance studies’ could and should articulate beyond a euro-centric cultural frame of reference. Into this brew we must add of course group theatres, ensembles, experimental and devised work by a new post-1968 generation, many of whom were moving beyond the realms of new writing (though this has remained a force for change in some quarters) to find what a non-bourgeois theatre could mean. Liberation movements and their many ‘isms pushed forth new voices and new dramaturgies. Writing about our discipline, in terms of critical theories to describe and interpret developments in theatrical performance in the last forty years (during which the Women’s Liberation Movement emerged), is becoming as heterogeneous, intercultural and interdisciplinary as its practice. It simply had to, in order to keep up

2011UALTC Interactive installations : exploring collaborative working practice through blended learning and public engagement

Abstract submitted to the Annual Learning and Teaching Conference 2011. Paper delivered under the theme ‘A University for the Region’