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This volume collects selected papers from the past two instances of Digital Art Weeks (Zurich, Switzerland) and Interactive Futures (Victoria, BC, Canada), two parallel festivals of digital media art. The work represented in Transdisciplinary Digital Art is a confirmation of the vitality and breadth of the digital arts. Collecting essays that broadly encompass the digital arts, Transdisciplinary Digital Art gives a clear overview of the on-going strength of scientific, philosophical, aesthetic and artistic research that makes digital art perhaps the defining medium of the 21st Century.
Design and Culture: A Transdisciplinary History offers an inclusive overview that crosses disciplinary boundaries and helps define the next phase of global design practice. This book examines the interaction of design with advances in technology, developments in science, and changing cultural attitudes. It looks to the past to prepare for the future and is the first book to offer an innovative transdisciplinary design history that integrates multidisciplinary sources of knowledge into a mindful whole. It shows design as a process that expresses goals through values and beliefs, functioning as a major factor in contemporary cultural life. Starting with the development of the Industrial Revolution, the book focuses on the evolution of design and culture in the twentieth century to predict where design will go in the future. Given the major social and political shifts currently unfolding across the globe, and the resulting changing demographics and environmental degradation, Design and Culture encourages collaboration and communication between disciplines to prepare for the future of design in a rapidly changing world.
The Routledge Companion to Digital Humanities and Art History offers a broad survey of cutting-edge intersections between digital technologies and the study of art history, museum practices, and cultural heritage. The volume focuses not only on new computational tools that have been developed for the study of artworks and their histories but also debates the disciplinary opportunities and challenges that have emerged in response to the use of digital resources and methodologies. Chapters cover a wide range of technical and conceptual themes that define the current state of the field and outline strategies for future development. This book offers a timely perspective on trans-disciplinary developments that are reshaping art historical research, conservation, and teaching. This book will be of interest to scholars in art history, historical theory, method and historiography, and research methods in education.
We have entered a post-post-studio age, and find ourselves with a new studio model: the transdisciplinary. Artists and designers are now defined not by their discipline but by the fluidity with which their practices move between the fields of architecture, art, and design. This volume delves into four pioneering transdisciplinary studios--Jorge Pardo Sculpture, Konstantin Grcic Industrial Design, Studio Olafur Eliasson, and Åbäke--by observing and interviewing the practitioners and their assistants. A further series of interviews with curators, critics, anthropologists, designers, and artists serves to contextualize the transdisciplinary model now at the fore of creative practice. Including interviews with Jorge Pardo, Konstantin Grcic, Olafur Eliasson, and Åbäke; and Vito Acconci, Gui Bonsiepe, James Clifford, Dexter Sinister, Martino Gamper, Ryan Gander, Caroline Jones, Ronald Jones, Maria Lind, Alessandro Mendini, Rick Poynor, and Andrea Zittel. The Transdisciplinary Studio is the first volume of a series of books by Alex Coles on the expanded studio model and contemporary praxis.
This open access edited volume provides theoretical, practical, and historical perspectives on art and education in a post-digital, post-internet era. Recently, these terms have been attached to artworks, artists, exhibitions, and educational practices that deal with the relationships between online and offline, digital and physical, and material and immaterial. By taking the current socio-technological conditions of the post-digital and the post-internet seriously, contributors challenge fixed narratives and field-specific ownership of these terms, as well as explore their potential and possible shortcomings when discussing art and education. Chapters also recognize historical forebears of digital art and education while critically assessing art, media, and other realms of engagement. This book encourages readers to explore what kind of educational futures might a post-digital, post-internet era engender.
MEDIA: A Transdisciplinary Inquiry explores evolving definitions of media and interrogates how media technologies are transforming media theory and practice. The collection addresses the emerging roles of media across a wide range of disciplines, featuring contributions from an array of internationally known scholars and practitioners. The definition of media itself is in a constant state of flux, expanding to include an ever-widening range of concepts, products, services, and institutions. Here, the authors reconceptualize media, drawing not only on media and communication studies, but also philosophy, sociology, political science, biology, art, computer science, and information studies, among other disciplines. The collection challenges traditional notions of media, explores emerging media, and reexamines concepts including technology, environment, and ecology; multimedia, mediation, and labor; and participation, repair, and curation. These timely and original discussions by established scholars in the field provide a valuable contribution to the fusion of media across disciplines.
We live in an age where language and screens continue to collide for creative purposes, giving rise to new forms of digital literatures and literary video games. Towards a Digital Poetics explores this relationship between word and computer, querying what it is that makes contemporary fictions like Dear Esther and All the Delicate Duplicates—both ludic and literary—different from their print-based predecessors.
The four-volume set LNCS 8517, 8518, 8519 and 8520 constitutes the proceedings of the Third International Conference on Design, User Experience and Usability, DUXU 2014, held as part of the 16th International Conference on Human-Computer Interaction, HCII 2014, held in Heraklion, Crete, Greece in June 2014, jointly with 13 other thematically similar conferences. The total of 1476 papers and 220 posters presented at the HCII 2014 conferences were carefully reviewed and selected from 4766 submissions. These papers address the latest research and development efforts and highlight the human aspects of design and use of computing systems. The papers accepted for presentation thoroughly cover the entire field of Human-Computer Interaction, addressing major advances in knowledge and effective use of computers in a variety of application areas. The total of 256 contributions included in the DUXU proceedings were carefully reviewed and selected for inclusion in this four-volume set. The 66 papers included in this volume are organized in topical sections on design theories, methods and tools; user experience evaluation; heuristic evaluation; media and design; design and creativity.
This book offers the first interdisciplinary survey of community research in the humanities and social sciences to consider such diverse disciplines as philosophy, religious studies, anthropology, sociology, disabilities studies, linguistics, communication studies, and film studies. Bringing together leading international experts, the collection of essays critically maps and explores the state of the art in community research, while also developing future perspectives for a cross-disciplinary rethinking of community. Pursuing such a critical, transdisciplinary approach to community, the book argues, can counteract reductive appropriations of the term ‘community’ and, instead, pave the way for a novel assessment of the concept’s complexity. Since community is, above all, a lived practice that shapes people’s everyday lives, the essays also suggest ways of redoing community; they discuss concrete examples of community practice, thereby bridging the gap between scholars and activists working in the field.
An examination of machine learning art and its practice in new media art and music. Over the past decade, an artistic movement has emerged that draws on machine learning as both inspiration and medium. In this book, transdisciplinary artist-researcher Sofian Audry examines artistic practices at the intersection of machine learning and new media art, providing conceptual tools and historical perspectives for new media artists, musicians, composers, writers, curators, and theorists. Audry looks at works from a broad range of practices, including new media installation, robotic art, visual art, electronic music and sound, and electronic literature, connecting machine learning art to such earlier artistic practices as cybernetics art, artificial life art, and evolutionary art. Machine learning underlies computational systems that are biologically inspired, statistically driven, agent-based networked entities that program themselves. Audry explains the fundamental design of machine learning algorithmic structures in terms accessible to the nonspecialist while framing these technologies within larger historical and conceptual spaces. Audry debunks myths about machine learning art, including the ideas that machine learning can create art without artists and that machine learning will soon bring about superhuman intelligence and creativity. Audry considers learning procedures, describing how artists hijack the training process by playing with evaluative functions; discusses trainable machines and models, explaining how different types of machine learning systems enable different kinds of artistic practices; and reviews the role of data in machine learning art, showing how artists use data as a raw material to steer learning systems and arguing that machine learning allows for novel forms of algorithmic remixes.