Exploring Creation and Curation as Steps Towards a Gamification of the Arts Through Game Engines

Game engines enable the creation of novel applications that can enhance how art is created and presented and provide new tools to artists. This thesis presents study, research, and development within the frontiers between the arts and computer science, namely about a perceived dual phenomenon of the artification of games and the gamification of the arts. It proposes the hypothesis that through gamification, one can create environments that enable artists to give new possibilities to their art and communicate differently with their audiences, as the digital game engines’ artistic multimodality opens possibilities of new kinds of art forms, and artistic creation, experience and curation, and also raises questions about if it could extend the arts’ domain and if it could be a resource for the endeavours of the research in computational creativity. This hypothesis is tested with the development of an art studio for multimedia sculptures - TIMAEUS – and an infrastructure that enables people to render such sculptures in virtual spaces, made in collaboration with artists to create examples of their art transformed into digital forms. The work also approaches the gamified possibilities of art curation to create a virtual stoa - or colonnade - for teaching Stoicism and a virtual Odyssey, enabling the presentation of artistic work as a virtual art gallery. The artistic evaluation of the prototypes, in collaboration with creators on different branches of the arts – painting, drawing, poetry – aims to assess the qualities of this approach that has been presented in relevant conferences and evaluated by peers and artists. ‘The arts’ are here treated as an umbrella term comprehending the whole field of creative expression and are the subject of an experiment of a special kind of gamification, thought as a sort of gamification that is extended to the use and transformation of the digital game software infrastructure itself – the game engine

Bertsobot: gizaki-robot arteko komunikazio eta elkarrekintzarako portaerak

216 p.Bertsobot: Robot-Portaerak Gizaki-Robot Arteko Komunikazio eta ElkarrekintzanBertsotan aritzeko gaitasuna erakutsiko duen robot autonomoa garatzeada gure ikerketa-lanaren helburu behinena. Bere egitekoa, bertsoa osatzekoinstrukzioak ahoz jaso, hauek prozesatu eta ahalik eta bertsorik egokienaosatu eta kantatzea litzateke, bertsolarien oholtza gaineko adierazkortasunmaila erakutsiz gorputzarekin. Robot-bertsolariak, gizaki eta roboten artekoelkarrekintza eta komunikazioan aurrera egiteko modua jarri nahi luke, lengoaianaturala erabiliz robot-gizaki arteko bi noranzkoko komunikazioan

Le tecnologie dell’informazione nella scrittura di Italo Calvino e Paolo Volponi

Over the last decade, considerable attention has been paid to how the information society and digital tools are changing the cultural and linguistic scene where literary production takes place. But what are the roots of this change and of the consequent debate? This book was created with the aim of studying how two of the most influential Italian writers of the second half of the 20th century, Italo Calvino and Paolo Volponi reacted to the initial diffusion of information technologies in the mid-fifties by wondering about the function of literary language and artistic creativity in a context of intelligent machines and mass information. Eleonora Lima carefully analyses some of the lesser known texts by the two authors, and discusses the opposition between the natural and the technological world in a society where information has become a product and a good to be exploited. She reconstructs the prerogatives and identities of biological and mechanical subjects, as defined by the then emerging cybernetic science. Finally, she investigates the political role of television representation in the years of dispute and terrorism. The comparative analyses, organized by thematic nuclei which are preceded by an overall historical and methodological framework, reveal the ways in which a 'remediation' process took place in writing, and show how, with new and often divergent strategies, the two narrators have faced the need to adapt literary tools to the changed communication context in a very personal way