Portrait of the Computer Artist: Between Worlds

As a result of ignorance and misconceptions about the nature of computer artwork, the computer artist is misunderstood by practitioners in fine art, art education, science, and industry. This paper enters the world of the computer artist to look at some of the factors which contribute to misperceptions. It examines social issues ranging from the design and use of hardware and software to access issues, and problems with concrete and electronic exhibition venues. It also describes communication barriers in education and the media

On Media of Memory and Remembering

Information stored in digital media literally and metaphorically loses its historical dimensions but gains spatial relations and burgeoning cross-references. Thus, all of culture, and by extension, its products too, are losing their historical dimension in the age of digital, networked technologies in favor of a constant, real-time information flow, produced by exchange and morphing

Recent Developments in Cultural Heritage Image Databases: Directions for User-Centered Design

published or submitted for publicatio

Technik, Ökonomie und Ästhetik des digitalen Films : eine Bibliografie

Gliederung 1. Technischer Hintergrund der Digitalisierung 2. Ökonomischer Hintergrund der Digitalisierung 3. Ästhetischer Hintergrund der Digitalisierun

Benjaminiana : k remediaci vybraných Benjaminových pojmů v diskurzu nových digitálních médií

The Work of Art in The Age of Mechanical Reproduction (1936) by Walter Benjamin is one ofthe most often quoted texts in the new digital media discourse. In the paper, I follow ways of transposition and appropriation of Benjamin's notions, especially "reproduction" and "aura", in the theory of new digital media. The argument is based on a concept of remediation formulated by J. D. Bolter and R. Grusin. ... [Celé shrnutí v článku]

In Darwin’s Garden: an evolutionary exploration of augmented reality in practice

This book is part of the Springer Advanced Information and Knowledge Processing Series and will be published under Springer's Open Access policy.This chapter discusses the rapid developments in augmented reality and mixed reality technologies, from a practitioner’s perspective of making the augmented reality sculptural work In Darwin’s Garden. From its conception in 2012, to its exhibition at Carbon Meets Silicon II in 2017, the advances in augmented reality technology led to an interplay between the goal of the creators and the technological realisation of that vision. The art, design and technology involved, generated a reactive process that was mired in external influences as the accessibility to augmented reality became commercially valuable and subsequently restricted. This chapter will be of interest to anyone who wants to understand more about the possibilities, technologies and processes involved in realising mixed reality practice and about the commercial culture that supports it

Degree of quantization and spatial addressability tradeoffs in perceived quality of color images

The objective of this thesis research was to investigate the tradeoffs between the number of quantization levels and spatial addressability of printed color images. Image quantization was done by employing the error-diffusion algorithm. The diffusion of error was performed in CMYK color space. The resulting images were printed on a color output device simulating different spatial addressabilities. To evaluate the perceived image quality, a psychophysical experiment was conducted followed by a statistical analysis of the experimental data. Based on the results of this analysis, the conclusions on the tradeoffs between the number of quantization levels and spatial addressability were drawn. It was determined that the tradeoffs were scene dependent with photographic scenes being able to sustain greater reduction in addressability without perceived image quality being decreased than graphics. The experiment showed that photographic scenes were sufficient to be printed with 5 bits per pixel per color at 100 dots per inch, and graphics with 3 bits per pixel per color at 300 dots per inch. If a single bits per color / dots per inch combination is to be named as the optimum combination equivalent to the best possible image for the given system (8bpc/300dpi), it would have to be 3bpc/300dpi. This combination was found to be equivalent to the quality of the best possible image at the normal viewing distance for all scenes in the experiment

O advento da animação digital: da animação 2D tradicional ao 3D

O advento das novas tecnologias e a incorporação de técnicas digitais no processo de criação de um filme animado contribuiu para uma alteração de paradigma no cinema de animação. Com base nas reflexões de Marshall McLuhan acerca dos meios de comunicação e da tecnologia enquanto extensões do Homem, o presente artigo propõe uma reflexão sobre essa mesma transformação. Nesse sentido, discorre-se sobre os significados associados ao termo animação à luz do atual contexto digital em que se insere e de uma breve contextualização histórica. São analisadas as principais diferenças entre a animação 2D tradicional e o 3D considerando os padrões estéticos e narrativos instaurados pelos estúdios Walt Disney e Pixar. Paralelamente, discutir-se-ão as implicações do advento do 3D na indústria da animação, refletindo-se acerca das possibilidades oferecidas pela introdução de ferramentas digitais na produção de um filme animado

O advento da animação digital: da animação 2D tradicional ao 3D

O advento das novas tecnologias e a incorporação de técnicas digitais no processo de criação de um filme animado contribuiu para uma alteração de paradigma no cinema de animação. Com base nas reflexões de Marshall McLuhan acerca dos meios de comunicação e da tecnologia enquanto extensões do Homem, o presente artigo propõe uma reflexão sobre essa mesma transformação. Nesse sentido, discorre-se sobre os significados associados ao termo animação à luz do atual contexto digital em que se insere e de uma breve contextualização histórica. São analisadas as principais diferenças entre a animação 2D tradicional e o 3D considerando os padrões estéticos e narrativos instaurados pelos estúdios Walt Disney e Pixar. Paralelamente, discutir-se-ão as implicações do advento do 3D na indústria da animação, refletindo-se acerca das possibilidades oferecidas pela introdução de ferramentas digitais na produção de um filme animado

The User, The Space and Everything Else in Between: Designing Context-Driven Interactive Spaces through Direct-User Inputs

In this thesis, I present my research project Air + Water. Air + Water is an interactive installation system that detects breath pressure and changes its visualization by detecting the number of users in its space. This project was developed within an exploratory-research design process. It aimed to establish clearer understanding of the user’s input within an interactive installation system through its overall design and visual feedback. The design process used a mixed-method approach, leveraging research through design and user-centered design methodologies along with interaction design methods presented in literature. Building upon related works and existing design frameworks, the idea of a contextualized interactive system came into formation. Through a usability study, Air + Water was evaluated, with and without its context-aware features. This was to see if it was capable of bridging its context-driven design choices to the user’s understanding of the system. The contributions from this research could provide designers in related HCI and interaction design fields to consider these types of design choices when working with direct-user inputs