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Handbook of Research on Computational Arts and Creative Informatics

Book Description

The Handbook of Research on Computational Arts and Creative Informatics covers a comprehensive range of topics regarding the interaction of the sciences and the arts. Exploring new uses of technology and concepts of art and expression, this cutting-edge Handbook of Research offers a valuable resource to academicians, researchers, and practitioners.

Table of Contents

  1. Copyright
  2. Editorial Advisory Board
  3. List of Contributors
  4. Foreword
  5. Preface
  6. Acknowledgment
  7. I. Intersections of Art, Science and Technology
    1. I. The Computer Medium in Digital Art's Creative Process
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND
        1. Evolution of Digital Art
        2. Several Arts of Digital Art
        3. Core Concepts of Digital Art
        4. Preservation in Digital Art
      4. IMPLEMENTATION OF DIGITAL ARTIFACTS
        1. Input Devices
        2. Content Delivery and Management
        3. Output Devices
        4. Maintenance
        5. Environment Constraints
      5. THE ARTECH FRAMEWORK FOR DIGITAL CREATION
      6. THE CREATIVE DESIGN PROCESS
      7. THE CREATIVE DESIGN SPACE ARCHITECTURE
      8. THE ARTECH IMPLEMENTATION
        1. Example 1: WAVE - A Virtual Audio Environment
          1. Main Application Constraints
        2. Example 2: Displacement
          1. Main Application Constraints
        3. Example 3: Dynamic Topography
          1. Main Application Constraints
      9. FUTURE TRENDS
      10. CONCLUSION
      11. REFERENCES
      12. KEY TERMS
    2. II. Conceptual Framework for the Intersection of Software and Art
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND AND RESEARCH METHOD
        1. Background
        2. Research Method
        3. The Intersection of Software and Art
        4. Who (Are the People Involved in this Domain)
          1. Artists
          2. Theorists and Art Critics
          3. Software Engineers
          4. Researchers
        5. Why (Art and Software Need Interaction)
          1. Artists Need Tools Support
          2. Art Projects Need Software Engineering
          3. Computing Needs Aesthetics
          4. Technology Changes Art's Medium, Audience And Business
        6. Where (The Intersection Happens)
          1. In Educational Institutes
            1. In Art Schools
            2. In Computing Schools
          2. In Software Industry
          3. In Research Institutes
          4. In Art Projects
          5. In Art Centres and Festivals
        7. What (Software Tools are Used in this Domain)
        8. The Framework
      4. FUTURE TRENDS
      5. CONCLUSION
      6. REFERENCES
      7. KEY TERMS
    3. III. The Design of Engineering
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND
        1. The Engineer
        2. The Designer
        3. The Manager
      4. CURRENT TRENDS
      5. FUTURE TRENDS
      6. CONCLUSION
      7. REFERENCES
      8. KEY TERMS
    4. IV. Ambient Video, Slow-Motion, and Convergent Domains of Practice
      1. ABSTRACT
      2. INTRODUCTION
      3. COLLABORATION AND CROSS-DISCIPLINARY PRACTICE
      4. DISTINCT METHODOLOGIES
        1. Divergent Methodology
        2. Humanities Scholarship
        3. Artistic Practice
        4. Scientific Research
      5. A SHARED RESEARCH AGENDA
        1. Overview: Intertwined Research Threads
        2. Humanities Scholarship: The Evolution of Video and the Ambient Video Form
        3. Artistic Creation
        4. Artistic Practice Integrated within Scholarly Context
        5. Technical Background Research and the Identification of the Central Research Problem
        6. Scientific and Engineering Research: Slow-Motion
        7. Motion Compensated Interpolation (MCI)
        8. Previous Work in Motion Estimation and Motion Compensated Interpolation
        9. Proposed Method
        10. Experimental Results
      6. NEXT STEPS
        1. Next Steps in Scientific Research
        2. Next Steps in Creative Practice
        3. Next Steps in Humanities Scholarship
      7. COLLABORATION ACROSS DOMAINS
        1. What have we Learned?
        2. What are the Characteristics of this Collaborative Model?
        3. Broader Considerations
      8. FUTURE TRENDS
      9. CONCLUSION
      10. ACKNOWLEDGMENT
      11. REFERENCES
      12. ENDNOTES
      13. KEY TERMS AND DEFINITIONS
  8. II. Creativity Unleashed
    1. V. Randomness, Chance, & Art
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND
      4. CHANCE VS. RANDOM
      5. HOW RANDOM?
        1. Assert(Random == Information)
        2. Control & Generative Art
        3. Time-Based Art
        4. Control & Generative Music
        5. Seeds & Pseudorandom Number Generators
        6. Hardware Random Number Generator
      6. FUTURE TRENDS
      7. CONCLUSION
      8. REFERENCES
      9. ENDNOTES
      10. KEY TERMS AND DEFINITIONS
    2. VI. Holography: Re-Defined
      1. ABSTRACT
      2. NEW VISIONS
        1. Kathleen Burnett
        2. Walter Benjamin
        3. Susan Sontag
        4. Victor Burgin
        5. Le Corbusier
      3. NOT A 3-D ILLUSION
        1. Wittgenstein
      4. FUTURE DEVELOPMENTS
      5. REFERENCES
      6. USEFUL WEB ADDRESSES
    3. VII. 3D Sound Simulation over Headphones
      1. ABSTRACT
      2. INTRODUCTION
        1. Elements of Spatial Hearing
          1. Some Basic Notions
          2. Spatial Coordinates
          3. Outer Ear Overview
          4. The Mechanisms Of Sound Source Localization
            1. The Interaural Differences
            2. The Cone of Confusion
            3. The Direction-Dependent Filtering and the Head Related Transfer Function
            4. Individual and General Attributes of the HRTF
            5. The Role of the Head Movements
          5. Sound Source Localization on Three Planes
            1. Sound Source Localization in the Horizontal Plane
            2. Sound Sources Localization in the Median Plane
            3. Sound Sources Localization in the Vertical or Frontal Plane
        2. Simulation of the Spatial Hearing
          1. Spatial Hearing through Headphones
          2. Dummy Head and in-Ear Microphones: Binaural Recordings
          3. Impulse Response and Digital Convolution
          4. Isolation and Individual Simulation of the Three Localization Cues
        3. A Multi-Dimensional Trip
          1. Zero Dimensions: The Point
          2. One Dimension: The Line
          3. Two Dimensions: The Plane
          4. Three Dimensions: Space
        4. The Fourth Dimension
          1. An Idea for the Visual Fourth Dimension
          2. An Idea for the Auditory Fourth Dimension
      3. CONCLUSION
      4. REFERENCES
      5. KEY TERMS
    4. VIII. Broken Cinema: The Eye and Hand in a Time-Based Art
      1. ABSTRACT
      2. INTRODUCTION
      3. PART I: SEEING IN TIME
        1. Background
        2. The Seeing Eye
        3. The Silent Eye
        4. The Eye In Time
      4. PART II: THE HAND IN TIME
        1. Cinematic Contributions and the Principles of a Time-Based Art Form
        2. Elements of a Time-Based Art
      5. CONCULSION
      6. REFERENCES
      7. KEY TERMS
    5. IX. Ambivalent Interplay
      1. ABSTRACT
      2. INTRODUCTION
      3. EARLY HISTORY OF SYNESTHETIC EXPERIMENTATION IN ART
      4. SYNESTHESIA AND SYNESTHETS IN NEUROLOGICAL TERMS
      5. SENSORY FUSION EXPERIMENTS IN MODERN ART
      6. INVISIBLE INTERFACE: THE OLFACTORY VISION
      7. VISUAL AND ACOUSTIC EMBODIED EXPERIENCES
      8. IMMERSIVE VISUAL AND AUDIO MOTIONS
      9. ART IN THE NET SPACE
      10. CYBER TOUCHING: INTERACTIVE INTERFACE
      11. FUTURE TRENDS: BEYOND THE SPATIAL AND TEMPORAL LIMITATION
      12. CONCLUSION
      13. REFERENCES
      14. ENDNOTES
    6. X. The Aesthetics of Net dot Art
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND (DEFINITIONS OF NET ART)
      4. CATEGORY OF NET ART
        1. Email Art
        2. Non-Linear Narrative
        3. Online Performance Art
        4. Data Visualization/Information Art
        5. Game Art
        6. Collaborative creation on the internet
      5. PLAYING THE GAME: IMPORTANT NET ART FACTORS ATTRACT USER PARTICIPATION
      6. THE GROWTH OF THE ART FORM: THE SHAPE OF WORKS CHANGE WITH USERS' PARTICIPATION AND CONTRIBUTION
      7. THE VERBALITY OF ART. ART DOES NOT BRING MYSTERIOUS COLORS ANYMORE BUT EXPERIENCE SHARING AND DIALOGUE INSTEAD. ART BECOMES A VERB
      8. TRANSFERRING AUTHORSHIP: ARTISTS OF COLLABORATIVE CREATIONS BECOME THE EDITORS OF PROJECTS, AND USERS PARTICIPATING IN THE PROJECT BECOME ARTISTS AT THE SAME TIME
        1. Internet/Digital community
        2. Interaction with a Real Installation combined with Internet
      9. CONCLUSION
      10. REFERENCES
      11. KEY TERMS
    7. XI. A Graphics Tablet as a Fine Art Tool
      1. ABSTRACT
      2. INTRODUCTION
      3. COMPUTER SUPPORTED TOOLS FOR ART CREATION
      4. EXPLORING THE USAGE OF A GRAPHICS TABLET BY ARTISTS AIM, DESIGN AND SET-UP OF STUDY
      5. RESULTS
      6. FUTURE TRENDS
      7. CONCLUSION
      8. REFERENCES
      9. KEY TERMS
    8. XII. Information Visualization and Interface Culture
      1. ABSTRACT
      2. INTRODUCTION
      3. DEFINING THE INTERFACE
      4. SIGNIFICANT RELATED TECHNOLOGIES
      5. THE BATTLE OF THE BEAMS
      6. A DESKTOP FOR THE AGES: VANNEVAR BUSH AND THE MEMEX
      7. A GIANT STEP FOR MILITARY IMAGING: THE BIRTH OF HUD
      8. THE GUI AND PERVASIVE INTERFACE CULTURE
      9. INFORMATION VISUALIZATION PRECEDENTS AND DISCOURSE
      10. LEV MANOVICH'S CALL FOR AN INFO-AESTHETICS
      11. JOHN MAEDA, BEN FRY AND THE ERA OF POST-VISUAL ARTS
      12. CHARTJUNK, ADMINISTRATIVE DEBRIS AND THE LAWS OF COOL
        1. Recent Developments & Contemporary Work
      13. REFERENCES
      14. KEY TERMS
    9. XIII. Memory Association Machine
      1. ABSTRACT
      2. INTRODUCTION
        1. The Artifact
        2. Embodiment
        3. Artistic Enquiry
      3. GROWING FORM FROM CONTEXT
        1. Methodology of Artistic Enquiry
        2. Why Use Artificial Intelligence?
      4. THE "MEMORY ASSOCIATION MACHINE" ARCHITECTURE
        1. Memory System
        2. Free-Association System
      5. MACHINE CREATIVITY
        1. Machines that are Intended to be creative
      6. CONCLUSION & FUTURE WORK
      7. REFERENCES
      8. ENDNOTES
      9. KEY TERMS
    10. XIV. EVO-PARK: Designing Better Architectural Projects Using Participated and Interactive Genetic Algorithms
      1. ABSTRACT
      2. 1. INTRODUCTION
      3. 2. COLLABORATIVE DESIGN IN ARCHITECTURE
        1. 2.1 What is collaboration
        2. 2.2 collaborative Work History
        3. 2.3 The collaborative Process
        4. 2.4 collaboration Developing Areas
      4. 3. GENETIC ALGORITHMS AND INTERACTIVE GENETIC ALGORITHMS
        1. 3.1 introduction to Genetic Algorithms
        2. 3.2 interactive GA
      5. 4. ASSISTED DESIGN PARK MODEL
        1. 4.1 Participated and Interactive Genetic Algorithm
        2. 4.2 Voting Parks
        3. Selection Techniques and Reproduction
      6. SELECTING PARKS FOR VOTING
      7. SELECTING PARKS FOR REPRODUCTION
        1. 4.3 Calculating Fitness
        2. 4.4 How PIGA works
      8. CONCLUSIONS AND FUTURE WORK
      9. REFERENCES
      10. ENDNOTES
    11. XV. Mathematics, Computer Mathematical Systems, Creativity, Art
      1. ABSTRACT
      2. INTRODUCTION
        1. Creativity as a Common Root of Producing (Discovering) New Knowledge in Math and Science and Producing New Artifacts in Art (Philosophical aspects)
      3. IT IN MATH RESEARCH WORK AND MATH EDUCATION
        1. The Competency Paradigm of Math Education
          1. Problem 1. The Falling Ladder Problem
          2. Problem 2. Construct the Expert System "Triangle"
      4. THE RESEARCH APPROACH IN MATH EDUCATION
        1. Problem Posing
        2. Modeling and CMS Modeling
        3. Conjecturing (Hypothesing)
        4. Proving (Disproving) a Hypothesis
        5. Applications
        6. Systematization
          1. Problem 3
          2. Comments to Problem 3 from the Point of View of Research Approach with ICT Support
        7. Mathematization of a Problem
        8. Problem Posing
        9. Modeling
        10. Computer Modeling
        11. Conjecturing
        12. Proof (Disproving)
        13. Interpretation
        14. Application
        15. Systematization
          1. Comments to the School Visit 1 from the Point of View of RA with ICT Support
          2. Information Technologies, Mathematics and Art
        16. Initial Problem and Problem field
        17. Computer Experiments in Problem solving
          1. Experiment 1
          2. Experiment 2 (Disjointing the Vertices)
          3. Generalization 1
          4. Experiment 3 (the Middle Points Release)
          5. Generalization 2
        18. Proof in the Derive Environment
        19. Further Generalization
          1. Generalization 3
          2. Proof of the Generalization 3 in DG Environment
        20. Remark
        21. Further Generalizations
        22. Unexpected Turn: Geometry and Caricature
        23. Other Problems
          1. Theorem 1
          2. Remark 1
          3. Theorem 2
          4. Theorem 3
          5. Remark 2
          6. Theorem 4
          7. Geometric Transformations, DG and Linkages
          8. Problems
      5. IT OLYMPIADS FOR STUDENTS
          1. Problem 1. (Archeologist AWP (Automated Work Place))
          2. Problem 2. (Khinchin — Kadets Problem)
        1. Remark
          1. Problem 3. (Disjointing the Pieces of the Cut Figure)
        2. Remark
      6. CONCLUSION: PHILOSOPHY OF NEW TOOLS AND A NEW FORM OF EDUCATION: CREATIVITY, COMPETENCY PARADIGM, RESEARCH APPROACH, COMPUTER SUPPORT, DISTRIBUTED EDUCATIONAL COMMUNITIES
      7. POST SCRIPTUM: SOME CRAZY IDEAS ABOUT YOUTH, CREATIVITY, SCIENCE, MATHEMATICS AND IT
      8. REFERENCES
      9. ENDNOTES
      10. KEY TERMS
    12. XVI. Teaching Artful Expressions of Mathematical Beauty: Virtually Creating Native American Beadwork and Rug Weaving
      1. ABSTRACT
      2. INTRODUCTION: ART AS DEFINED BY CULTURE
      3. NATIVE AMERICAN STUDENTS AND CULTURALLY EFFECTIVE INSTRUCTION
      4. CULTURALLY SITUATED USES OF TECHNOLOGY
      5. THE NAVAJO RUG WEAVER
      6. CONCLUSION
      7. ACKNOWLEDGMENT
      8. REFERENCES
      9. KEY TERMS
    13. XVII. Visual Analytics and Conceptual Blending Theory
      1. ABSTRACT
      2. INTRODUCTION
      3. USING STORY TO FRAME THE ANALYSIS
        1. Story as a Global Medium
        2. The Diné Organizing Story
        3. The Diné Visualization
      4. CONCEPTUAL BLENDING THEORY
        1. The Sticky Wicket in the Visual Blend
        2. Achieving Human Scale
        3. The Blend Process Sequence
      5. DECONSTRUCTING THE VISUALIZATION
        1. Organizing Stories for the Models
        2. Blend Recursion and Elaboration
        3. Zoom Out: Compression
        4. Zoom In: Elaboration
      6. THE FUTURE
        1. Next Steps
      7. CONCLUSION
      8. REFERENCES
      9. KEY TERMS
  9. III. Implications of Technology, Social Dynamics and Culture
    1. XVIII. The Challenge of Enculturation on Art
      1. ABSTRACT
      2. BACKGROUND
      3. BACKGROUND: RESEARCH IN MULTIPLE DISCIPLINES
      4. BACKGROUND: INNOVATION OF INVENTION
      5. THE CULTURAL CHARACTERISTICS OF ART PRODUCTION
      6. CULTURAL CHARACTERISTICS: CRITIQUE
      7. CULTURAL CHARACTERISTICS: CONSENSUS BUILDING
      8. CULTURAL CHARACTERISTICS: ACADEMIC APPROVAL AND PROCESS
      9. CULTURAL CHARACTERISTICS: THE GALLERY
      10. CULTURAL CHARACTERISTICS: DISTINCTIONS BETWEEN ART, DESIGN AND SCIENCE
      11. THE PATTERN OF INNOVATION AND THE GENIUS OF CREATIVITY
      12. HOW CULTURE IS GIVEN
      13. DEFINING THE MAP
      14. THE ORPHANED PROTÉGÉ
      15. CONCLUSION: HOW TO EXPLORE INVENTION
      16. REFERENCES
      17. KEY TERMS
    2. XIX. The Philosophies of Software
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND
      4. ANALOGY
        1. Design of User Interfaces
        2. Philosophical Contradiction: The Acceptance of Non-Truth
        3. The Origins of Analogies
        4. Reductivism: The Finite State Machine
        5. Reductivism: Object Orientation
        6. Reductivism: Examining the Reductive Language
      5. TRANSFERRED AGENCY
        1. The Use of Avatars
        2. What We Learn from Our Software
        3. What Software Teaches Users
        4. What Software Teaches Masters and Novices
      6. CONCLUSION
      7. REFERENCES
      8. KEY TERMS
    3. XX. Technological Social-ism
      1. ABSTRACT
      2. INTRODUCTION
        1. The Bigger Picture
      3. I. LOOKING BEYOND
        1. The Collective Unconscious
        2. Music's Role in Ritual
      4. II. THE MIND
        1. Linguistic Issues
        2. Musical Grammar
      5. III. THE EMPEROR'S NEW PARADIGM
        1. Shifting Between Perspectives
      6. DIY
      7. IV. DEVOLVING TENDENCIES
        1. Time is a Wheel, not a Line
        2. Precedents in Waste
        3. The Nature of the Wave
        4. Following the Fold
        5. Revolution
      8. V. TECHNOLOGICAL PERSPECTIVE
        1. Using the Computer
        2. Human Tasks vs. Computational Task
      9. CONCLUSION
      10. REFERENCES
      11. ENDNOTES
      12. KEY TERMS
  10. IV. Creativity in Virtual Worlds and Artificial Spaces
    1. XXI. Theatre in Second Life® Holds the VR Mirror up to Nature
      1. ABSTRACT
      2. PROLOGUE
      3. INTRODUCTION: WHAT IS SECOND LIFE?
      4. THEATRICALITY IN SECOND LIFE
      5. THE REALITY OF SECOND LIFE
      6. WEDDING CRASHERS
      7. PERFORMANCE AT OTHER SL EVENTS
      8. AT THE BALLET
      9. POETRY PERFORMANCE: A STEP TOWARD SL THEATRE
        1. Sex, Death and Religion: Poetry and Theatre
      10. "O'ERSTEP NOT THE MODESTY OF NATURE"
      11. TAKING THE STAGE
      12. FUTURE PLANNED THEATRE PRODUCTIONS IN SECOND LIFE
      13. CONCLUSION/FUTURE TRENDS: IS IT THEATRE?
      14. AUTHOR'S NOTE
      15. REFERENCES
      16. KEY TERMS
    2. XXII. Machinima in Second Life
      1. ABSTRACT
      2. INTRODUCTION
      3. 1.0 WHAT IS MACHINIMA?
        1. 1.1 A Brief History of Virtual Worlds and Machinima
        2. 1.2 Examples of Machinima from Second Life
      4. 2.0 PLATFORM OPENNESS AND USER-CREATED CONTENT
        1. 2.2 Emergent Behavior
        2. 2.3 How to Create Content in Second Life
          1. Building Basic 3D Objects in Second Life
        3. Editing and Modifying Prims
          1. Creating Machinima in Second Life
      5. 3.0 USER-CREATED CONTENT AND THE LAW
        1. 3.1 Creative Expression and Copyright
        2. 3.2 Analogies Between Real and Virtual Spaces
      6. ACKNOWLEDGMENT
      7. REFERENCES
      8. KEY TERMS
    3. XXIII. Player Motivation and Understanding Game Dynamics
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND
      4. TRACING THE EVOLUTION OF MMORPG'S
      5. MUD'S AND MUSH'S
      6. THE GOLDEN AGE
      7. CURRENT MMORPG'S
      8. AN EXPLORATION INTO WOW
      9. GAME DYNAMICS & SOCIABILITY
      10. CMC IN MMORPG'S
      11. ENVIRONMENT
      12. THE THIRD PLACE CHARACTERISTICS IN MMORPG'S (STEINKUEHLER, 2005)
      13. MMORPG'S THIRD PLACE OBSERVATIONS
      14. GUILDS AND GROUPING
      15. ECONOMICS & TRADE
      16. MOTIVATIONS
      17. RICHARD BARTLE
      18. NICK YEE
      19. IMMERSION
      20. NARRATIVE, ROLE-PLAY AND THE AVATAR!
      21. ADDICTION
      22. FUTURE TRENDS
      23. CONCLUSION
      24. REFERENCES
      25. KEY TERMS
  11. Compilation of References
  12. About the Contributors