AIxArtist: A First-Person Tale of Interacting with Artificial Intelligence to Escape Creative Block

The future of the arts and artificial intelligence (AI) is promising as technology advances. As the use of AI in design becomes more widespread, art practice may not be a human-only art form and could instead become a digitally integrated experience. With enhanced creativity and collaboration, arts and AI could work together towards creating artistic outputs that are visually appealing and meet the needs of the artist and viewer. While it is uncertain how far the integration will go, arts and AI will likely influence one another. This workshop pictorial puts forward first-person research that shares interactions between an HCI researcher and AI as they try to escape the creative block. The pictorial paper explores two questions: How can AI support artists' creativity, and what does it mean to be explainable in this context? HIs, ChatGPT and Midjourney were engaged; the result was a series of reflections that require further discussion and explorations in the XAIxArts community: Transparency of attribution, the creation process, ethics of asking, and inspiration vs copying.Comment: 1st International Workshop on Explainable AI for the Arts (XAIxArts), ACM Creativity and Cognition (C&C) 2023. Online, 6 pages. https://xaixarts.github.i

Innovator, 1993-08-19

The Innovator was a student newspaper published at Governors State University between March 1972 and October 2000. The newspaper featured student reporting, opinions, news, photos, poetry, and original graphics

Kenyon Collegian - April 16, 1981

https://digital.kenyon.edu/collegian/1803/thumbnail.jp

The BG News February 6, 2007

The BGSU campus student newspaper February 6, 2007. Volume 97 - Issue 93https://scholarworks.bgsu.edu/bg-news/8711/thumbnail.jp

Soundtrack-controlled cinematographic systems

PhD Thesi

Situated dissemination : critiquing the materiality and visuality of HCI knowledges through a local dissemination practice

PhD ThesisThis practice-led thesis investigates how research dissemination is currently understood as a practice in HCI. The focus on understanding research dissemination as a practice is motivated by recent debates within HCI communities about the disciplinary basis of HCI, by increasing competition amongst HCI conferences to expand their audiences, and by the emergence of new dissemination forms to accommodate growing interdisciplinary work in HCI. Organisations such as the ACM SIGCHI (Special Interest Group on Computer-Human Interaction) regularly promote new dissemination forms, however these top-down calls for submissions have not yet generated critical discussions about the materiality of HCI knowledges, and the impact of new dissemination media on that materiality. This is the focus of this thesis, which investigates the way macro dissemination cultures in HCI impact on micro dissemination practice in an HCI workplace and identifies how the future practice of dissemination in HCI may be implicated. The investigation is carried out through three workplace-based case studies, which draw on ethnographic principles, and are informed by selected feminist critiques of science, theories of representation and by performance arts practice. These case studies form an overarching process of critiquing research dissemination in situ, as well as illustrating the developing methodological approach, which moves from participant observation to performance and practice based engagements. All three case studies are located in Open Lab, Newcastle University, where I worked and where I was based as a PhD student between 2013 to 2016. Chapters 4-6 document and critique how research dissemination is organised as routine work in an HCI workplace, and discuss how reflexive accounts of research may be suppressed or diminished by routinised dissemination practice. I describe the production of CHI videos as a genre of research videos in HCI. I present the results of focus groups and surveys on CHI video, in which I draw from my freelance videography experience and new membership of the HCI workplace to unpick the visuality of CHI videos as a new medium of dissemination in HCI. Secondly, I discuss my participation in the organisation and production of another dissemination artefact, the CHI booklets. I illustrate how the production of the booklets is routinised and carried out by different members of the research group. I draw connections between local dissemination practice to a wider network of the ACM SIGCHI iv community. I discuss how the materiality of HCI knowledges is addressed through the production of dissemination artefacts. Lastly, in chapter 6, I present the process of making research fictions (RF). I develop such making as a concept to engage HCI practitioners in performatively critiquing local dissemination practice. Based on my arts practice I interrogate the materiality of dissemination and utilise the theory of reenactment from performance arts to produce a series of alternative dissemination artefacts in the workplace. In conclusion, I identify the shortage of critical dialogues and methodological resources within HCI for fully understanding and engaging with dissemination practice. Drawing on the case studies, I offer a theory of ‘Situated Dissemination’ (SD) which contributes to the literature in HCI on embodied thinking/interaction/design, as well as extending HCI methodologies on workplace studies. The theory of SD is offered as a framework for critiquing dissemination practice in HCI and as providing innovative alternatives to routinised dissemination practice as situated and embodied practice in HCI workplaces

A Social Dimension for Digital Architectural Practice

Merged with duplicate record 10026.1/1296 on 14.03.2017 by CS (TIS)This thesis proceeds from an analysis of practice and critical commentary to claim that the opportunities presented to some architectural practices by the advent of ubiquitous digital technology have not been properly exploited. The missed opportunities, it claims, can be attributed largely to the retention of a model of time and spaces as discrete design parameters, which is inappropriate in the context of the widening awareness of social interconnectedness that digital technology has also facilitated. As a remedy, the thesis shows that some social considerations essential to good architecture - which could have been more fully integrated in practice and theory more than a decade ago - can now be usefully revisited through a systematic reflection on an emerging use of web technologies that support social navigation. The thesis argues through its text and a number of practical projects that the increasing confidence and sophistication of interdisciplinary studies in geography, most notably in human geography, combined with the technological opportunities of social navigation, provide a useful model of time and space as a unified design parameter. In so doing the thesis suggests new possibilities for architectural practices involving social interaction. Through a literature review of the introduction and development of digital technologies to architectural practice, the thesis identifies the inappropriate persistence of a number of overarching concepts informing architectural practice. In a review of the emergence and growth of 'human geography' it elaborates on the concept of the social production of space, which it relates to an analysis of emerging social navigation technologies. In so doing the thesis prepares the way for an integration of socially aware architecture with the opportunities offered by social computing. To substantiate its claim the thesis includes a number of practical public projects that have been specifically designed to extend and amplify certain concepts, along with a large-scale design project and systematic analysis which is intended to illustrate the theoretical claim and provide a model for further practical exploitation

Tools for expressive gesture recognition and mapping in rehearsal and performance

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.Cataloged from PDF version of thesis.Includes bibliographical references (p. 97-101).As human movement is an incredibly rich mode of communication and expression, performance artists working with digital media often use performers' movement and gestures to control and shape that digital media as part of a theatrical, choreographic, or musical performance. In my own work, I have found that strong, semantically-meaningful mappings between gesture and sound or visuals are necessary to create compelling performance interactions. However, the existing systems for developing mappings between incoming data streams and output media have extremely low-level concepts of "gesture." The actual programming process focuses on low-level sensor data, such as the voltage values of a particular sensor, which limits the user in his or her thinking process, requires users to have significant programming experience, and loses the expressive, meaningful, and metaphor-rich content of the movement. To remedy these difficulties, I have created a new framework and development environment for gestural control of media in rehearsal and performance, allowing users to create clear and intuitive mappings in a simple and flexible manner by using high-level descriptions of gestures and of gestural qualities. This approach, the Gestural Media Framework, recognizes continuous gesture and translates Laban Effort Notation into the realm of technological gesture analysis, allowing for the abstraction and encapsulation of sensor data into movement descriptions. As part of the evaluation of this system, I choreographed four performance pieces that use this system throughout the performance and rehearsal process to map dancers' movements to manipulation of sound and visual elements. This work has been supported by the MIT Media Laboratory.by Elena Naomi Jessop.S.M

Communities at a Crossroads. Material semiotics for online sociability in the fade of cyberculture

How to conceptualize online sociability in the 21st century? To answer this question, Communities at a Crossroads looks back at the mid-2000s. With the burst of the creative-entrepreneur alliance, the territorialization of the internet and the commercialization of interpersonal ties, that period constituted a turning point for digital communitarian cultures. Many of the techno-libertarian culture\u2019s utopias underpinning the ideas for online sociability faced systematic counter evidence. This change in paradigm has still consequences today. Avoiding both empty invocations of community and swift conclusions of doom, Annalisa Pelizza investigates the theories of actions that have underpinned the development of techno-social digital assemblages after the \u2018golden age\u2019 of online communities. Communities at a Crossroads draws upon the analysis of Ars Electronica\u2019s Digital Communities archive, which is the largest of its kind worldwide, and in doing so presents a multi-faceted picture of internet sociability between the two centuries. Privileging an anti-essentialist, performative approach over sociological understandings of online communities, Communities at a Crossroads proposes a radical epistemological turn. It argues that in order to conceptualize contemporary online sociability, we need first to abandon the techno-libertarian communalist rhetoric. Then, it is necessary to move beyond the foundational distinction between Gemeinschaft and Gesellschaft, and adopt a material semiotic approach. In the end, we might have to relinquish the effort to define online or digital communities and engage in more meaningful mapping exercises

Interaction design for live performance

PhD Thesis Multimedia item accompanying this thesis to be consulted at Robinson LibraryThe role of interactive technology in live performance has increased substantially in recent years. Practices and experiences of existing forms of live performance have been transformed and new genres of technology-­‐mediated live performance have emerged in response to novel technological opportunities. Consequently, designing for live performance is set to become an increasingly important concern for interaction design researchers and practitioners. However, designing interactive technology for live performance is a challenging activity, as the experiences of both performers and their audiences are shaped and influenced by a number of delicate and interconnected issues, which relate to different forms and individual practices of live performance in varied and often conflicting ways. The research presented in this thesis explores how interaction designers might be better supported in engaging with this intricate and multifaceted design space. This is achieved using a practice-­‐led methodology, which involves the researcher’s participation in both the investigation of, and design response to, issues of live performance as they are embodied in the lived and felt experiences of individual live performers’ practices during three interaction design case studies. This research contributes to the field of interaction design for live performance in three core areas. Understandings of the relationships between key issues of live performance and individual performers’ lived and felt experiences are developed, approaches to support interaction designers in engaging individual live performers’ lived and felt experiences in design are proposed and innovative interfaces and interaction techniques for live performance are designed. It is anticipated that these research outcomes will prove directly applicable or inspiring to the practices of interaction designers wishing to address live performance and will contribute to the ongoing academic discourse around the experience of, and design for, live performance.Engineering and Physical Sciences Research Council