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45 artists from around the world were invited to explore the possibilities of Augmented Reality Art: An art form that allows digital art to superimpose physical art. The book is both a showcase of the art form and a historical document that captures the first wave of Augmented Reality Artists.
In The Prosthetic Imagination, leading critic Peter Boxall argues that we are now entering an artificial age, in which our given bodies enter into new conjunctions with our prosthetic extensions. This new age requires us to reimagine our relation to our bodies, and to our environments, and Boxall suggests that the novel as a form can guide us in this imaginative task. Across a dazzling range of prose fictions, from Thomas More's Utopia to Margaret Atwood's Oryx and Crake, Boxall shows how the novel has played a central role in forging the bodies in which we extend ourselves into the world. But if the novel has helped to give our world a human shape, it also contains forms of life that elude our existing human architectures: new amalgams of the living and the non-living that are the hidden province of the novel imagination. These latent conjunctions, Boxall argues, are preserved in the novel form, and offer us images of embodied being that can help us orient ourselves to our new prosthetic condition.
This is the second edition of the first ever book to explore the exciting new field of augmented reality art and its enabling technologies. The new edition has been thoroughly revised and updated, and contains 5 new chapters. As well as investigating augmented reality as a novel artistic medium the book covers cultural, social, spatial and cognitive facets of augmented reality art. Intended as a starting point for exploring this new fascinating area of research and creative practice it will be essential reading not only for artists, researchers and technology developers, but also for students (graduates and undergraduates) and all those interested in emerging augmented reality technology and its current and future applications in art.
This book sets out strategies of analysis of the award-winning tetralogy of performances (2010-14) by ANU Productions known as ‘The Monto Cycle’. Set within a quarter square mile of Dublin’s north inner city, colloquially known as The Monto, these performances featured social concerns that have blighted the area over the past 100 years, including prostitution, trafficking, asylum-seeking, heroin addiction, and the scandal of the Magdalene laundries. While placing the four productions in their social, historical, cultural and economic contexts, the book examines these performances that operated at the intersection of performance, installation, visual art, choreography, site-responsive and community arts. In doing so, it explores their concerns with time, place, history, memory, the city, ‘affect’, and the self as agent of action.
In the twenty-first century, we are continually confronted with the existential side of technology—the relationships between identity and the mechanizations that have become extensions of the self. Focusing on one of humanity’s most ubiquitous machines, Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art combines critical theory and new media theory to form the first philosophical analysis of the car within works of conceptual art. These works are broadly defined to encompass a wide range of creative expressions, particularly in car-based conceptual art by both older, established artists and younger, emerging artists, including Ed Ruscha, Martha Rosler, Richard Prince, Sylvie Fleury, Yael Bartana, Jeremy Deller, and Jonathan Schipper. At its core, the book offers an alternative formation of conceptual art understood according to technology, the body moving through space, and what art historian, curator, and artist Jack Burnham calls “relations.” This thought-provoking study illuminates the ways in which the automobile becomes a naturalized extension of the human body, incarnating new forms of “car art” and spurring a technological reframing of conceptual art. Steeped in a sophisticated take on the image and semiotics of the car, the chapters probe the politics of materialism as well as high/low debates about taste, culture, and art. The result is a highly innovative approach to contemporary intersections of art and technology.
The 13th International Conference on Human–Computer Interaction, HCI Inter- tional 2009, was held in San Diego, California, USA, July 19–24, 2009, jointly with the Symposium on Human Interface (Japan) 2009, the 8th International Conference on Engineering Psychology and Cognitive Ergonomics, the 5th International Conference on Universal Access in Human–Computer Interaction, the Third International Conf- ence on Virtual and Mixed Reality, the Third International Conference on Internati- alization, Design and Global Development, the Third International Conference on Online Communities and Social Computing, the 5th International Conference on Augmented Cognition, the Second International Conference on Digital Human Mod- ing, and the First International Conference on Human Centered Design. A total of 4,348 individuals from academia, research institutes, industry and gove- mental agencies from 73 countries submitted contributions, and 1,397 papers that were judged to be of high scientific quality were included in the program. These papers - dress the latest research and development efforts and highlight the human aspects of the 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.
Visual Prosthetics provides an in-depth analysis of the principles of operation, current state, anticipated developments, and functional aspects of visual prosthetics restoring sight to visually impaired individuals. This volume uniquely describes the human visual system in health and disease in a pedagogical and didactic manner, fitting to professionals and researchers with a bioengineering background. Readers will find a balanced overview of electrical, molecular chemical and synthetic chromophore stimulation, in addition to the biophysics and psychological aspects of vision restoration. Unlike competitive texts, this introduction also includes the need and methods for functional evaluation and rehabilitation. Professionals in the field of biomedical engineering and graduate and postgraduate researchers will find Visual Prosthetics a valuable reference.
Co-winner, Ray & Pat Browne Award for Best Edited Collection in Popular Culture and American Culture Once a small subculture, the steampunk phenomenon exploded in visibility during the first years of the twenty-first century, its influence and prominence increasing ever since. From its Victorian and literary roots to film and television, video games, music, and even fashion, this subgenre of science fiction reaches far and wide within current culture. Here Rachel A. Bowser and Brian Croxall present cutting-edge essays on steampunk: its rise in popularity, its many manifestations, and why we should pay attention. Like Clockwork offers wide-ranging perspectives on steampunk’s history and its place in contemporary culture, all while speaking to the “why” and “why now” of the genre. In her essay, Catherine Siemann draws on authors such as William Gibson and China Miéville to analyze steampunk cities; Kathryn Crowther turns to disability studies to examine the role of prosthetics within steampunk as well as the contemporary culture of access; and Diana M. Pho reviews the racial and national identities of steampunk, bringing in discussions of British chap-hop artists, African American steamfunk practitioners, and multicultural steampunk fan cultures. From disability and queerness to ethos and digital humanities, Like Clockwork explores the intriguing history of steampunk to evaluate the influence of the genre from the 1970s through the twenty-first century. Contributors: Kathryn Crowther, Perimeter College at Georgia State University; Shaun Duke, University of Florida; Stefania Forlini, University of Calgary (Canada); Lisa Hager, University of Wisconsin–Waukesha; Mike Perschon, MacEwan University in Edmonton, Alberta; Diana M. Pho; David Pike, American University; Catherine Siemann, New Jersey Institute of Technology; Joseph Weakland, Georgia Institute of Technology; Roger Whitson, Washington State University.
Now in one convenient volume, Atlas of Amputations and Limb Deficiencies: Surgical, Prosthetic, and Rehabilitation Principles, Fifth Edition, remains the definitive reference on the surgical and prosthetic management of acquired and congenital limb loss. Developed in partnership with the American Academy of Orthopaedic Surgeons (AAOS) and edited by Joseph Ivan Krajbich, MD, FRCS(C), Michael S. Pinzur, MD, FAAOS, COL Benjamin K. Potter, MD, FAAOS, FACS, and Phillip M. Stevens, MEd, CPO, FAAOP, it discusses the most recent advances and future developments in prosthetic technology with in-depth treatment and management recommendations for adult and pediatric conditions. With coverage of every aspect of this complex field from recognized experts in amputation surgery, rehabilitation, and prosthetics, it is an invaluable resource for surgeons, physicians, prosthetists, physiatrists, therapists, and all others with an interest in this field.
Prosthesis is an addition or attachment to the body that replicates the function of a lost or dysfunctional limb. Prostheses have evolved over the centuries starting from wooden and metal levers to highly sophisticated robotic limbs. While the design of prostheses has become complex and multidimensional, their control methodologies have been developed using signal processing and machine learning methods. This book reports on the recent progress in the design and control of prostheses.