2,756 research outputs found
Neue ErzÀhlformen in dynamischen Bildtechnologien - Formprobleme zwischen PopulÀrkommunikation und autonomer Kunst
Jeder Fortschritt, jede Neuerung gröĂeren AusmaĂes in verschiedenen Medien provoziert nach einer kurzen Phase spielerischen Experiments eine erneute Konsolidierung wie deren Ă€sthetische Reflexion: Diese DualitĂ€t kennen wir spĂ€testens seit den Tagen industrieller Kommunikation als eine Trennung zwischen Massenkommunikation und Kunst. Dies lĂ€sst sich gleichermaĂen bei der Entwicklung des zentralperspektivischen Bildes, der frĂŒhen Fotografie oder ganz besonders der Kinematografie beobachten. Nach einer ersten Phase des Kinos der Attraktionen entwickelte sich eine neue und einzigartige Formensprache des Classical Style als konventionalisierte Gestaltungsregel des Films, die zugleich und teilweise in scharfer Opposition verschiedene Gegenbewegungen auslöste oder als deren explizite Reflexion durch individuelle kĂŒnstlerische Formensprachen ĂŒberformt wurde. Aktuell stehen wir vor einer Ă€hnlichen Situation, der Erfindung und Verbreitung dreidimensionaler dynamischer Techniken mit Datenbrille und anderen Technologien, die neue Formen der Virtual Production und damit des ErzĂ€hlens ermöglichen - sogenanntes 'spatial' oder 'environmental storytelling'. Der Band widmet sich diesem neuen ErzĂ€hlen auf drei Ebenen: Raumbild und -ton (Film), Bewegung im Raum (Computerspiel und VR) und Raum als Kontext (AR)
1st Design Factory Global Network Research Conference âDesigning the Futureâ 5-6 October 2022
DFGN.R 2022 -Designing the Future - is the first research conference organised by the Design Factory Global Network. The open event offers the opportunity for all like-minded educators, designers and researchers to share their insights and inspire others on education, methods, practices and ecosystems of co-creation and innovation. The DFGN.R conference is a two-day event hosted on-site in Leeuwarden, the Netherlands. The conference is organized alongside International Design Factory Week 2022, the annual gathering of DFGN members. This year's conference is organized in collaboration with Aalto University from Helsinki Finland and hosted by the NHL Stenden University of Applied Sciences
Exploring the effects of robotic design on learning and neural control
The ongoing deep learning revolution has allowed computers to outclass humans
in various games and perceive features imperceptible to humans during
classification tasks. Current machine learning techniques have clearly
distinguished themselves in specialized tasks. However, we have yet to see
robots capable of performing multiple tasks at an expert level. Most work in
this field is focused on the development of more sophisticated learning
algorithms for a robot's controller given a largely static and presupposed
robotic design. By focusing on the development of robotic bodies, rather than
neural controllers, I have discovered that robots can be designed such that
they overcome many of the current pitfalls encountered by neural controllers in
multitask settings. Through this discovery, I also present novel metrics to
explicitly measure the learning ability of a robotic design and its resistance
to common problems such as catastrophic interference.
Traditionally, the physical robot design requires human engineers to plan
every aspect of the system, which is expensive and often relies on human
intuition. In contrast, within the field of evolutionary robotics, evolutionary
algorithms are used to automatically create optimized designs, however, such
designs are often still limited in their ability to perform in a multitask
setting. The metrics created and presented here give a novel path to automated
design that allow evolved robots to synergize with their controller to improve
the computational efficiency of their learning while overcoming catastrophic
interference.
Overall, this dissertation intimates the ability to automatically design
robots that are more general purpose than current robots and that can perform
various tasks while requiring less computation.Comment: arXiv admin note: text overlap with arXiv:2008.0639
Fictocritical Cyberfeminism: A Paralogical Model for Post-Internet Communication
This dissertation positions the understudied and experimental writing practice of fictocriticism as an analog for the convergent and indeterminate nature of âpost-Internetâ communication as well a cyberfeminist technology for interfering and in-tervening in metanarratives of technoscience and technocapitalism that structure contemporary media. Significant theoretical valences are established between twen-tieth century literary works of fictocriticism and the hybrid and ephemeral modes of writing endemic to emergent, twenty-first century forms of networked communica-tion such as social media. Through a critical theoretical understanding of paralogy, or that countercultural logic of deploying language outside legitimate discourses, in-volving various tactics of multivocity, mimesis and metagraphy, fictocriticism is ex-plored as a self-referencing linguistic machine which exists intentionally to occupy those liminal territories âsomewhere in among/between criticism, autobiography and fictionâ (Hunter qtd. in Kerr 1996). Additionally, as a writing practice that orig-inated in Canada and yet remains marginal to national and international literary scholarship, this dissertation elevates the origins and ongoing relevance of fictocriti-cism by mapping its shared aims and concerns onto proximal discourses of post-structuralism, cyberfeminism, network ecology, media art, the avant-garde, glitch feminism, and radical self-authorship in online environments. Theorized in such a matrix, I argue that fictocriticism represents a capacious framework for writing and reading media that embodies the self-reflexive politics of second-order cybernetic theory while disrupting the rhetoric of technoscientific and neoliberal economic forc-es with speech acts of calculated incoherence. Additionally, through the inclusion of my own fictocritical writing as works of research-creation that interpolate the more traditional chapters and subchapters, I theorize and demonstrate praxis of this dis-tinctively indeterminate form of criticism to empirically and meaningfully juxtapose different modes of knowing and speaking about entangled matters of language, bod-ies, and technologies. In its conclusion, this dissertation contends that the âcreative paranoiaâ engendered by fictocritical cyberfeminism in both print and digital media environments offers a pathway towards a more paralogical media literacy that can transform the terms and expectations of our future media ecology
Tradition and Innovation in Construction Project Management
This book is a reprint of the Special Issue 'Tradition and Innovation in Construction Project Management' that was published in the journal Buildings
The Biometric Evolution of Sound and Space
Auditoria in the late 20th and 21st centuries have evolved into a series of spatial conventions that are an established and accepted norm. The relationship between space and music now exists in a decoupled condition, and music is no longer reliant on volumetric and material conditions to define its form (Glantz 2000).
This thesis looks at a series of novel approaches to investigate how the links between music and space can be reconnected though evolutionary computation, parametric modelling, virtual acoustics and biometric sensing. The thesis describes in detail the experiments undertaken in developing methodologies in linking music, space and the body.
The thesis will show how it is possible to develop new form finding and musical generation tools that allow new room shapes and acoustic measures to inform how new acoustic and musical forms can be developed unconsciously and objectively by a listener, in response to sound and site
Action at a Distance: Reformatting the Paradigm of Spectatorship through Virtual Gestures and Audio-Visuals
Array Infinitive is a practice-based research project that examines audiovisuals and audience experience in virtual reality art practice. This PhD investigates the ways in which audiovisual performance in virtual reality (VR) affects and impacts an audience, and to what degree the audience is aware of the live aspect of the performance whilst immersed in the virtual space. This studio-led work draws upon ambient audio and colourful VR visuals, generated, processed,
and âplayedâ via gesture to a locally networked audience. Acting as researcher, lead artist, composer, and performer, I used improvised hand gestures and bodily movements to create amplified soundscapes and VR particle trails, which were broadcast to audience headsets in real-time.
One aim of this project was to create an altered state of consciousness (ASC) experience through ambient soundscapes and mesmeric VR visuals. These could then be studied to determine
whether the audience had an awareness that âthe instrumentâ (by which I mean sonified and visualised VR-responsive gestures) was controlled by a human. I also expanded the framework of spectatorship through a âhybrid-audienceâ when Array Infinitive was shown to a larger mixed group. This included observers both within and outside of VR, forming the same collective.
Methodologically, to understand audience experience in the context of this project, I undertook case studies, research studies, and field work to investigate audience response, as well as to gain feedback on the impact of VR audiovisuals, ASC reaction, and gestural performance as a form of instrumentation in VR.
This PhD research project builds upon important contributions to the field of performance research and the notion of 'enchantment' presented by Erika Fischer-Lichte, regarding performance as a spatial, embodied event: something that has energy and sensation.1 As well as Fischer-Lichteâs exploration of âenliveningâ a room into a performance space, she argues that live action extends possibilities of perception and expands the relationship between performer and
audience.2 Throughout this research, I intended to activate dual spatial planes â of both virtual and real-world dimensions; to create a group experience; and to explore affect by way of live audiovisuals. Other referenced research and material includes Maaike Bleekerâs âCorporeal Literacyâ and âBodymind'3 concepts, Shi Ke's, Embodiment and Disembodiment in Live Art,4 Mieke Bal's Endless Andness5 and Jonathan Weinel's Inner Sound, Altered States of Consciousness in Electronic Music and Audio-Visual Media.6 In addition, essays and published papers such as Seigworth and Gre!âs 'An inventory of shimmers'7 and Dr David
Glowackiâs research into group VR ASC experience8 were also reference material for the thesis. Array Infinitive takes inspiration and points of reference from many artists who work with a variety of media, such as Ann Veronica Janssens, Haroon Mirza, Rashaad Newsome, Pauline Oliveros, Ăliane Radigue, Jacolby Satterwhite and Catherine Yass. These artists produce work that is less about what it âmeansâ and more about what it âdoesâ.
The outcomes of this research contribute to the field of audiovisual art by way of exploring and expanding the definition of performance in VR and of experimental, improvised live sound-making. The development of gesture-controlled VR audiovisual content for live
performance has been established and tested in a variety of settings through this actionresearch, including both public-facing interactions and controlled research studies. Discoveries revolve around audience experience and affective response to sensory contact
through VR, as well as demonstrating the ability of this work to evoke a genuine ASC. The findings of the Array Infinitive research project have demonstrated that the fully immersed audience were not aware of the live element of the performance. Participants
in VR were not cognisant that there was a performer within their physical environment nor that the audiovisuals were being conducted by a human. The cybernetic is present in this
performance piece, through a corporeal, tangible, biological conduit. This work does not employ algorithms or artificial intelligence (AI) to generate content. The majority of the test subjects could not recognise that the shared audiovisual experience was being conducted by a person as part of a live proceeding.
Furthermore, the alteration in perception of human performative manoeuvres was instigated and studied as part of an extended form of spectatorship, which reconsiders the definition of the âaudienceâ and makes room for paradox within a collective event:
a multidimensional encounter that deliberately involves isolation, solidarity, and heterogeneous realities simultaneously
Recommended from our members
Sonic heritage: listening to the past
History is so often told through objects, images and photographs, but the potential of sounds to reveal place and space is often neglected. Our research project âSonic Palimpsestâ1 explores the potential of sound to evoke impressions and new understandings of the past, to embrace the sonic as a tool to understand what was, in a way that can complement and add to our predominant visual understandings. Our work includes the expansion of the Oral History archives held at Chatham Dockyard to include womenâs voices and experiences, and the creation of sonic works to engage the public with their heritage. Our research highlights the social and cultural value of oral history and field recordings in the transmission of knowledge to both researchers and the public. Together these recordings document how buildings and spaces within the dockyard were used and experienced by those who worked there. We can begin to understand the social and cultural roles of these buildings within the community, both past and present
Examining the Relationships Between Distance Education Studentsâ Self-Efficacy and Their Achievement
This study aimed to examine the relationships between studentsâ self-efficacy (SSE) and studentsâ achievement (SA) in distance education. The instruments were administered to 100 undergraduate students in a distance university who work as migrant workers in Taiwan to gather data, while their SA scores were obtained from the university. The semi-structured interviews for 8 participants consisted of questions that showed the specific conditions of SSE and SA. The findings of this study were reported as follows: There was a significantly positive correlation between targeted SSE (overall scales and general self-efficacy) and SA. Targeted students' self-efficacy effectively predicted their achievement; besides, general self- efficacy had the most significant influence. In the qualitative findings, four themes were extracted for those students with lower self-efficacy but higher achievementâphysical and emotional condition, teaching and learning strategy, positive social interaction, and intrinsic motivation. Moreover, three themes were extracted for those students with moderate or higher self-efficacy but lower achievementâmore time for leisure (not hard-working), less social interaction, and external excuses. Providing effective learning environments, social interactions, and teaching and learning strategies are suggested in distance education
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