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Der Prix Ars Electronica ist der traditionsreichste Medienkunstwettbewerb der Welt. Seit 1987 alljährlich ausgeschrieben, gilt er wegen seiner Kontinuität, der hohen Anzahl sowie Qualität der Einreichungen als Trendbarometer der weltweiten Medienkunst. Mit vielen Bildern, Texten und Statements der Jury bündelt das Buch jene Arbeiten, die 2020 in den Kategorien Computer Animation, Digital Musics & Sound Art, Artificial Intelligence & Life Art und u19 – Create Your World ausgezeichnet wurden. Ebenfalls im Buch enthalten ist wieder ein Best-of des im Auftrag der Europäischen Kommission ausgeschriebenen STARTS-Prize. Im Fokus dieses hoch dotierten Wettbewerbs standen innovative Projekte an der Schnittstelle von Wissenschaft, Technologie und Kunst (= Science, Technology and ARTS).
Scholars from science, art, and humanities explore the meaning of our new image worlds and offer new strategies for visual analysis. We are surrounded by images as never before: on Flickr, Facebook, and YouTube; on thousands of television channels; in digital games and virtual worlds; in media art and science. Without new efforts to visualize complex ideas, structures, and systems, today's information explosion would be unmanageable. The digital image represents endless options for manipulation; images seem capable of changing interactively or even autonomously. This volume offers systematic and interdisciplinary reflections on these new image worlds and new analytical approaches to the visual. Imagery in the 21st Century examines this revolution in various fields, with researchers from the natural sciences and the humanities meeting to achieve a deeper understanding of the meaning and impact of the image in our time. The contributors explore and discuss new critical terms of multidisciplinary scope, from database economy to the dramaturgy of hypermedia, from visualizations in neuroscience to the image in bio art. They consider the power of the image in the development of human consciousness, pursue new definitions of visual phenomena, and examine new tools for image research and visual analysis.
Artists and creators in interactive art and interaction design have long been conducting research on human-machine interaction. Through artistic, conceptual, social and critical projects, they have shown how interactive digital processes are essential elements for their artistic creations. Resulting prototypes have often reached beyond the art arena into areas such as mobile computing, intelligent ambiences, intelligent architecture, fashionable technologies, ubiquitous computing and pervasive gaming. Many of the early artist-developed interactive technologies have influenced new design practices, products and services of today's media society. This book brings together key theoreticians and practitioners of this field. It shows how historically relevant the issues of interaction and interface design are, as they can be analyzed not only from an engineering point of view but from a social, artistic and conceptual, and even commercial angle as well.
Edited by Gerfried Stocker and Christine Schepf. Essays by Peter J. Bentley, Erkki Huhtamo, Friedrich Kittler and Pierre Levy.
Der Prix Ars Electronica ist eine offene Plattform für die unterschiedlichen Disziplinen im Bereich digitaler Mediengestaltung an der Schnittstelle von Technologie, Kunst, Wissenschaft und Gesellschaft. Die neue Wettbewerbssparte Net Vision/Net Excellence öffnet sich verstärkt dem kulturellen Diskurs um das Medium Internet. Cyberarts 2001 bietet einen aktuellen Überblick über digitale Mediengestaltung am Beispiel der Wettbewerbsbereiche Net Vision/Net Excellence, Digital Musics, Interaktive Kunst und Computeranimation/Visual Effects ebenso wie einen Überblick über die breite Palette von Produktionen Jugendlicher.
A new analytical framework for understanding literary videogames, the literary-ludic spectrum, illustrated by close readings of selected works. In this book, Astrid Ensslin examines literary videogames—hybrid digital artifacts that have elements of both games and literature, combining the ludic and the literary. These works can be considered verbal art in the broadest sense (in that language plays a significant part in their aesthetic appeal); they draw on game mechanics; and they are digital-born, dependent on a digital medium (unlike, for example, conventional books read on e-readers). They employ narrative, dramatic, and poetic techniques in order to explore the affordances and limitations of ludic structures and processes, and they are designed to make players reflect on conventional game characteristics. Ensslin approaches these hybrid works as a new form of experimental literary art that requires novel ways of playing and reading. She proposes a systematic method for analyzing literary-ludic (L-L) texts that takes into account the analytic concerns of both literary stylistics and ludology. After establishing the theoretical underpinnings of her proposal, Ensslin introduces the L-L spectrum as an analytical framework for literary games. Based on the phenomenological distinction between deep and hyper attention, the L-L spectrum charts a work's relative emphases on reading and gameplay. Ensslin applies this analytical toolkit to close readings of selected works, moving from the predominantly literary to the primarily ludic, from online hypermedia fiction to Flash fiction to interactive fiction to poetry games to a highly designed literary “auteur” game. Finally, she considers her innovative analytical methodology in the context of contemporary ludology, media studies, and literary discourse analysis.
Author's Imagination of how Would Look the Physical Micro-universe ...
This volume was first published by Inter-Disciplinary Press in 2011. The papers collected in this volume document the exchange and development of ideas that comprised the 5th Global Conference on Visions of Humanity in Cyberculture, Cyberspace, and Science Fiction, hosted at Mansfield College, Oxford, United Kingdom, in July 2010. As in the past, the conference was driven by questions related to how cyberculture, cyberspace and science fiction can provide new insights into the nature of what it is to be human and the understanding of what it means for human beings to live in communities. In addition to these recurring themes, there is just as importantly a disposition that is shared by those participating in this volume. The authors, as well the writers, thinkers, and filmmakers they consider in their essays, demonstrate an intrepid and inquisitive approach that tests age-old questions within the rapidly expanding, but still vaguely defined spaces that new technologies have afforded us. Moreover, in many ways, the conference and present volume reflect their subject, which has always been situated self-consciously and comfortably between the receding boundaries that have traditionally served both to delineate various academic disciplines and to distinguish real scholarship from popular discourse. Thus, as evidenced in the chapters of this volume, the conference benefited from the participation of delegates who represented a variety of fields, methodologies, and perspectives.