Expressive 2016 - Posters, Artworks, and Bridging Papers

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Browsing Expressive 2016 - Posters, Artworks, and Bridging Papers by Subject "Arts and Humanities"

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    Alchimia: an Inexplicable or Mysterious Transmutation, a Seemingly Magical Process of Transformation, Creation, or Combination
    (The Eurographics Association, 2016) Veiga, P. A.; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
    Alchimia V2 is an interactive installation that relies on a single spectator/interactor standing in front of a screen/webcam. It has been coded in Processing 3.0 and is calculation intensive, using the webcam to perform facial detection, while simultaneously processing pre-prepared images and sounds, thus creating a virtual space of constant audio-visual movement to deliberately interfere with real-time self-perception and self-recognition. Alchimia V2 questions and changes our relationship with our own representation through the (ever present) camera and screen by focusing on the spectator's face, altering the expression, gender, assigning masks, making the facial traits diffuse, mixed, funny or scary, always mysterious, in a search for another "self", oblivious of the "selfie" pose and attitude, while allowing for self discovery and playfulness - or intimidation. Through the interaction the spectator/interactor is absorbed in the transmutation process, unaware of the fact that they also have become part of a performance: unique, unrepeatable, transformed.
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    Relational Interactive Art: A Framework for Interaction in a Social Context
    (The Eurographics Association, 2016) Cabrita, Nuno; Bernardes, Gilberto; Ergun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado
    Interactive art implies an active dialogue between the participant and the surrounding space, mediated by a computational system. Reciprocity and recursiveness are key principles to the bidirectional flux of information in this setting, guaranteeing a continuous interaction loop between the participant and the digital system. Viewing the human body as a natural interface, we focus on non-invasive tracking methods for embodiment sensing, such as infra-red depth cameras. Current limitations in participant engagement of interactive artworks in public spaces are introduced and analyzed from the perspective of group dynamics. In this paper we approach Bourriaud's concept of relational aesthetics, relate it to the inherent social context of interactive artwork exhibition, and propose a framework for the development of relational interactive artworks. Interactive art implies an active dialogue between the participant and the surrounding space, mediated by a computational system. Reciprocity and recursiveness are key principles to the bidirectional flux of information in this setting, guaranteeing a continuous interaction loop between the participant and the digital system. Viewing the human body as a natural interface, we focus on non-invasive tracking methods for embodiment sensing, such as infra-red depth cameras. Current limitations in participant engagement of interactive artworks in public spaces are introduced and analyzed from the perspective of group dynamics. In this paper we approach Bourriaud's concept of relational aesthetics and relate it to the inherent social context of interactive artwork exhibition, and propose a framework for the development of relational interactive artworks.