LEONARDO 44:1 (2011)
Roger F. Malina: Alt.Art-Sci: We Need New Ways of Linking Arts and Sciences
Sebastian von Mammen, Thomas Wißmeier, Joyce Wong and Christian Jacob: Artistic Exploration of the Worlds of Digital Developmental Swarms
Abstract: This paper presents artwork that was inspired by a computational model called Swarm Grammars. In this work, the “liveliness” of swarms is combined with the generative capabilities of more established developmental representations. Three of the authors followed their individual artistic approaches to explore the creativity and dynamics of Swarm Grammar structures. One chose to breed structures interactively to compose virtual spaces. The second explores the movement and construction dynamics of interactive swarms. The third artist translated developmental processes of Swarm Grammars into interactions of paint particles driven by friction and gravity.
Julian Voss-Andreae: Quantum Sculpture: Art Inspired by the Deeper Nature of Reality
Abstract: The author, a sculptor with a background in physics, describes sculptures he creates inspired by quantum physics. He argues that art such as the presented sculptures can indicate aspects of reality that science cannot and therefore has the potential to help liberate us from the deep impact the paradigm of classical physics continues to have on our every perception of reality.
Edgar F. Meyer: Digital Design of Molecular Sculptures and Abstractions
Abstract: While tactile models have been used to describe molecular structures for over a century, the sculpting of structural models is a recent phenomenon. Following X-ray coordinate selection, the author uses modeling software and a computer numerically controlled (CNC) milling machine to create precisely scaled, tactile molecular sculptures. The challenge is to inspire the general public to appreciate the aesthetic aspects of molecular architecture and to reveal the magnificence of nature on the molecular scale.
Brigitta Zics: Toward an Affective Aesthetics: Cognitive-Driven Interaction in the Affective Environment of the Mind Cupola
Abstract: This article presents two interactive artworks that represent a shift in artistic practice in their approach to active spectatorship. This approach to interaction incorporates the cognitive processes of the participant through an aesthetic interconnection between technological effect and affective human response. The discussion of the artworks seeks to demonstrate how this aesthetic interconnection creates a novel approach to an engagement with interaction, while suggesting a new forum for addressing the philosophical problem of the relationship between body and mind. This aesthetic interconnection between technology and human cognition, which will be referred to as affective aesthetics, is stimulated by introducing a novel application of emerging technologies that dynamically effect and evaluate the participant’s affective responses through cognitive feedback loops within interactive artworks.
Patrícia Noronha: Yeast Biopaintings: Biofilms as an Artistic Instrument
Abstract: The author works with microorganisms that produce colored natural pigments to create biopaintings that result from the manipulation of organisms and their specific interactions. The author’s biopaintings were obtained by controlling the growth of yeast cells on paper, ensuring the stability of the final results. These biopaintings resulted from the artist’s observation and experimentation with evolving patterns of yeast biofilms. The often-unexpected results are part of the creative process and suggest new artistic methodologies to be explored. An overview of the aesthetic manipulation of microorganisms by other artists is briefly presented.
Eleni Gemtou: Depictions of Sunsets as Information Sources
Abstract: This paper presents a critical approach to a scientific project conducted by a group of natural scientists at the National Observatory of Athens, in which artworks depicting sunsets were used as sources of scientific information on atmospheric abnormalities after volcanic eruptions. The author examines the stages of this research and its results from a philosophical point of view, attempting to show that the cognitive value of art has an idiosyncratic character and does not correspond to reality as does that of science.
Ana Peraica: Exploitation of Victims’ Desire for Revenge: A Natural Psychological Mechanism and Its Unnatural Production in Culture and Politics
Abstract: This paper elaborates on key themes of the on-line project Victims’ Symptom—PTSD and Culture. A clinical, psychiatric definition of victim, rather than a cultural one, is used to distinguish real from false victims. The danger of the media production of false victims lies in its power to re-victimize the original victims, aside from gains that a false victim may win by taking on the role or attitudes of a victim. Contrary to the common stress on financial benefits of being a victim, this article focuses on the negative economy of revenge, as a postponed reaction by real victims, that if institutionalized may provoke or support and even increase the production of new fatalities.
Special Section: Environment 2.0
Drew Hemment, Rebecca Ellis, Brian Wynne: Participatory Mass Observation and Citizen Science
Abstract: The authors outline and reflect upon a new research agenda on participatory mass observation and citizen science as an introduction to the 3 project outlines in this special section of Transactions.
Drew Hemment, Carlo Buontempo, Alfie Dennen: Climate Bubbles: Games to Monitor Urban Climate
Abstract: Climate Bubbles was a playful, participatory mass observation project on local climate. Bubble blowing games were devised to enable people across the city of Manchester to test air flow circulation and, by sharing the results online, enabled the Met Office to create a snapshot of the effect the Urban Heat Island has on wind.
Christian Nold, John Tweddle, Rebecca Ellis, Drew Hemment, Brian Wynne: Biotagging Manchester: Interdisciplinary Exploration of Biodiversity
Abstract: Biotagging used audio-visual equipment to engage a range of individuals in ‘tagging’ plants and animals with specific and local meaning to them. This was an experiment in subverting conventional approaches to biodiversity monitoring with the aim of expanding ideas of both biodiversity and citizen science.
Drew Hemment, Yara El-Sherbini, Carlo Buontempo, John Tweddle: 100 Years of Climate Change: A Night-Time Audio Walk
Abstract: 100 Years of Climate Change is an artwork inspired by the insight that we might experience 100 years of climate change by taking a short walk of 100 metres. Investigation of the local impacts of the Urban Heat Island effect culminated in a night-time audio walk to open up awareness of the urban climate.
Reviews by Jan Baetens, John F. Barber, C.F. Black, Giovanna Costantini, Rob Harle, Amy Ione, Mike Leggett, Stephen Petersen, Aparna Sharma
Chris Foster: Three Colors: Coomassie Brilliant Blue, Sudan I and Somalia Yellow
Abstract: By taking the lab into the studio, the artist describes in this article the first use of industrial chemical dyes with his paintings or dye-paintings. A brief explanation of this technique in art and the production process is given, together with a short introduction and history on chemical dyes, their toxicity and pigments.
Stephen Jones: A Systems Basis for New Media Pedagogy
Abstract: The relations that operate dynamically within art-making systems need to be elucidated when teaching new media either as practice or as history. Toward that end the author proposes an extended conceptual structure of cybernetics that includes the motivations within a system and its coherence.
Tack Woo, Kwangyun Wohn, Nigel Johnson: Categorisation of New Classes of Digital Interaction
Abstract: This article introduces a new concept, digital interactivity, through examining local digital culture; and video game culture is employed as a metaphor to interpret local digital culture. As a result, ‘control-’ and ‘communication’-based interaction are initiated, based on ‘user to media’ relationships. Based on the degree of physical interaction, ‘liminal’ and ‘transitive’ interactions are initiated. Less physical digital interaction is described as ‘liminal’ interaction and more physical digital interaction is described as ‘transitive’ interaction. These new classes of digital interaction can be applied to real-world examples, such as digital interactive installation artworks and video games.
Jacques Mandelbrojt: Multiple-Time Installation
Abstract: The author has for several years been making paintings with an elongated format which he calls time-paintings, as well as a series of paintings; called space-time paintings. In this note the author describes his projects of multiple-time installations which combine these two concepts.
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