Synesthetic art through 3-D projection: The requirements of a computer-based supermedium

A computer-based form of multimedia art is proposed that uses the computer to fuse aspects of painting, sculpture, dance, music, film, and other media into a one-to-one synthesia of image and sound for spatially synchronous 3-D projection. Called synesthetic art, this conversion of many varied media into an aesthetically unitary experience determines the character and requirements of the system and its software. During the start-up phase, computer stereographic systems are unsuitable for software development. Eventually, a new type of illusory-projective supermedium will be required to achieve the needed combination of large-format projection and convincing real life presence, and to handle the vast amount of 3-D visual and acoustic information required. The influence of the concept on the author's research and creative work is illustrated through two examples

Graphical Evolution Experiments in Artificial Life

Larry Yaeger\u27s alife simulation running on a Silicon Graphics Iris Workstation is called Poly World. Our description of PolyWorld is based on notes taken during an oral presentation and video demonstration given in the Artificial Life Panel Session of SIGGRAPH \u2792: In PolyWorld the visual organisms roam on a bounded two dimensional grid. The organisms brains are small neural nets enabling the organisms to control their external visual appearance and to perceive the external world by processing pixmaps. The simulation controls for total energy while striving to explore competition and self-organization. Genes present are for size, strength, maximum speed, mutation rate, number of crossover points in the neural net, lifespan, energy to offspring, and ID (a parameter used to enable mimicry). The neural net can make decisions about whether the organism should eat, fight, mate, move, turn, light (effecting the external appearance of the light sensor panel it emits), or focus (gaze at the appearance of others). To see the organisms evolve to different species adopting distinct and atypical strategies and behaviors for survival is most impressive. Words do not do justice to the video animation sequences

ОБРАЗОТВОРЧЕ МИСТЕЦТВО І МОЖЛИВОСТІ НОВІТНІХ ТЕХНОЛОГІЙ

The possibilities of the new computer and internet-technologies in the sphere of the fine art are analyzed. The synthesis of the art and science led to invention of such new forms of the art as fine art in style of CG-art, video performance, video-sculpture, WEB-design and VJ-ing etc.Without high-tech innovation, it is hard to imagine the potential integration of any sphere of life in world space, which is characterized by rapid computerization. Perhaps, the most significant information-communication technologies reflected on the specifics of the fine arts, which in turn influenced the modern form of exhibitions, which are now often represented a separate art project.A special place among modern computer technologies is occupied by digital art, the main types are:- Digital computer graphics;- Digital computer painting;- Digital computer sculpture.They can be described as those where using the computer technologies, we can the most definitely simulate the materials, techniques and technology specific to traditional forms of graphics, painting and sculpture. The synthesis of art and the technology does such tasks such as to satisfy aesthetic needs by fashion trends and gravity to information and graphic culture; to involve the ranks of supporters of fine art youth. Notably, the computer art requires not only professional artistic skills, but also requires advanced knowledge of computer science. This modification of art solves another problem of promotion of information and computer literacy.The first mention of the possibility of computer technology in the creative paintings was in 1995-1996. Today you cannot surprise anybody by the painting style CG-art (Computer Graphics Art). Ivan Hivrenko is one of the most famous Ukrainian artists working in the "digital" style.The widespread interest in using of digital computer art practice is proved by a number of exhibitions. The digital art demonstrates interesting decision in creation of the reproductions. Chayan Hoi, a French artist and photographer created a series of works, which he defined as "cyberrealism."Nowadays, video art is one of progressive direction of modern art. For example, they are a video, a video in off-line mode, with pre-superimposed sound; video-performances, mounted video equipment mounting.Except video art, WEB-design and VJ-ing gained wide recognition in the modern art.Among the artists and VJs, we can highlight the work of British director Peter Hrynueyya.In general, researchers believe that digital painting, WEB-design and VJ-ing is the closest to the salon art which characterized by eclectic, quasi historical character, idealization of images, grotesque and etc.Finally, we would like to emphasize one important thing. Active development of innovative computer technologies requires a new approach to the system of training of future artists. In particular, this is integrated classes which would include studying of fine arts and computer graphics, optimal combination of traditional and modern teaching aids. Practical mastery of multimedia technologies in the future will greatly facilitate the inclusion of young talent in professional life and will help to avoid banality and amateur. Moreover, nobody knows what other surprises in the future the fruitful cooperation of science and art prepare for us.В статье анализируются возможности новейших компьютерных и интернет-технологий в сфере изобразительного искусства. Синтез искусства и науки привел к формированию таких новых форм художественного творчества, как цифровая компьютерная графика, живопись в стиле CG-арта, видео-перформанс, видеоскульптура, WЕВ-дизайн и VJ-инг и под.У статті аналізуються можливості новітніх комп’ютерних та інтернет-технологій у сфері образотворчого мистецтва. Синтез мистецтва і науки призвів до формування таких нових форм художньої творчості, як живопис у стилі CG-арту, відеоперформанс, відеоскульптура, WЕВ-дизайн та VJ-інг і под

The Quiet Circus: The Colorful, Complicated, Slightly Schizophrenic, History of Early Computer Art at Bell Labs

Bell Labs was the origin point for a great number of 20th century innovations. Among these innovations were some of the first examples of computer graphics and computer art to be created in a laboratory environment. Over the course of the loosely outlined years 1962-1971, a tremendous outpouring of this work came from Ball Labs and began a medium that has proved to among the most influential in the history of technology

Um mapeamento da literatura sobre o uso de metodologias ativas na construção do pensamento computacional paralelo

Apesar da programação paralela ter se tornado uma realidade consolidada nos grandes centros de pesquisa, ainda se apresenta em formação nas matrizes curriculares dos cursos de graduação em Computação. A necessidade de uma formação básica e comum para os alunos desenvolverem as habilidades e competências específicas dessa área é fundamental, não apenas devido à popularização da computação de alto desempenho, mas também pela demanda, cada vez mais crescente, de um mercado promissor. Apesar dessa necessidade, a construção do Pensamento Computacional Paralelo ainda é realizada na forma de aulas tradicionais dentro das Universidades. O objetivo deste trabalho é identificar, através de um mapeamento da literatura, estudos que utilizem metodologias ativas para o ensino e a construção do Pensamento Computacional Paralelo, abordando recursos, desafios e métodos que estimulem alunos e professores no processo de ensino e aprendizado da construção do Pensamento Paralelo. Dos estudos retornados, 8 relatam experiências que vão das aulas tradicionais à utilização de jogos

Correlation between human aesthetic judgement and spatial complexity measure

The quantitative evaluation of order and complexity conforming with human intuitive perception has been at the core of computational notions of aesthetics. Informational theories of aesthetics have taken advantage of entropy in measuring order and complexity of stimuli in relation to their aesthetic value. However entropy fails to discriminate structurally different patterns in a 2D plane. This paper investigates a computational measure of complexity, which is then compared to a results from a previous experimental study on human aesthetic perception in the visual domain. The model is based on the information gain from specifying the spacial distribution of pixels and their uniformity and nonuniformity in an image. The results of the experiments demonstrate the presence of correlations between a spatial complexity measure and the way in which humans are believed to aesthetically appreciate asymmetry. However the experiments failed to provide a significant correlation between the measure and aesthetic judgements of symmetrical images