標(biāo)題: Titlebook: Digital Bodies; Creativity and Techn Susan Broadhurst,Sara Price Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Art.Design. [打印本頁] 作者: opioid 時(shí)間: 2025-3-21 17:40
書目名稱Digital Bodies影響因子(影響力)
書目名稱Digital Bodies影響因子(影響力)學(xué)科排名
書目名稱Digital Bodies網(wǎng)絡(luò)公開度
書目名稱Digital Bodies網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Digital Bodies被引頻次
書目名稱Digital Bodies被引頻次學(xué)科排名
書目名稱Digital Bodies年度引用
書目名稱Digital Bodies年度引用學(xué)科排名
書目名稱Digital Bodies讀者反饋
書目名稱Digital Bodies讀者反饋學(xué)科排名
作者: CHYME 時(shí)間: 2025-3-21 22:27 作者: inhibit 時(shí)間: 2025-3-22 03:20
Ellenbogen: OP-Verfahren/Nachbehandlungo what Claire Bishop (in ., 2012) has theorized as co-productions of (social) situations, and what the METABODY collaborators refer to as sensorial ‘disalignments’ from conventional, deterministic grids of perception.作者: 監(jiān)禁 時(shí)間: 2025-3-22 05:09
Hüfte: OP-Verfahren/Nachbehandlung production of artworks, but instead involves shared participation in labour with materials. A process of shared reflection on this practical work may lead to outcomes in the form of new research avenues within the various disciplines of the participating researchers.作者: REP 時(shí)間: 2025-3-22 12:17
https://doi.org/10.1007/978-3-642-13276-6uman condition. This chapter discusses approaches and strategies that artists use to elicit states of presence through the convergence of light, body and technology in response to specific artworks and immersive projection environments.作者: 小母馬 時(shí)間: 2025-3-22 16:08
Metakimosphereso what Claire Bishop (in ., 2012) has theorized as co-productions of (social) situations, and what the METABODY collaborators refer to as sensorial ‘disalignments’ from conventional, deterministic grids of perception.作者: 小母馬 時(shí)間: 2025-3-22 17:03
Making and Breaking: Electronic Waste Recycling as Methodology production of artworks, but instead involves shared participation in labour with materials. A process of shared reflection on this practical work may lead to outcomes in the form of new research avenues within the various disciplines of the participating researchers.作者: 壓倒性勝利 時(shí)間: 2025-3-22 21:28 作者: 沒有貧窮 時(shí)間: 2025-3-23 04:11
Book 2017collection offers a comprehensive view of digital technology research that both extends our notions of the body and creativity through a digital lens, and informs of the role of technology in practices central to the arts and humanities.?Crucially,?.Digital Bodies.?foregrounds creativity, the interr作者: 大量殺死 時(shí)間: 2025-3-23 06:16
Oberschenkel: OP-Verfahren/Nachbehandlungatre’. I would argue that the performances by means of their creative engagement can be seen as contemporary manifestations of this paradigm, providing their audiences with, in varying ways, multi-sensory and multi-layered experiences.作者: Inferior 時(shí)間: 2025-3-23 10:01
https://doi.org/10.1007/978-3-642-13276-6me the conventionality of present-day thinking about temporal patterns by developing a kind of temporal utopia, termed .. The research challenges thought patterns regarding the temporal structure of contemporary, technology driven life.作者: fertilizer 時(shí)間: 2025-3-23 14:54
Nicola Wolf-Kühn,Matthias Morfeldion. By creating material playgrounds for technological and human agency, the experiments described here aim to generate knowledge about the emotional self, critical reflection on human-machine relationships, and new imagined emotional relations resulting from the hybridity of humans and technology.作者: Accrue 時(shí)間: 2025-3-23 19:26
Digital Performance and Creativityatre’. I would argue that the performances by means of their creative engagement can be seen as contemporary manifestations of this paradigm, providing their audiences with, in varying ways, multi-sensory and multi-layered experiences.作者: 遺產(chǎn) 時(shí)間: 2025-3-24 00:07
The Embodiment of Timeme the conventionality of present-day thinking about temporal patterns by developing a kind of temporal utopia, termed .. The research challenges thought patterns regarding the temporal structure of contemporary, technology driven life.作者: 玷污 時(shí)間: 2025-3-24 03:23
Machinising Humans and Humanising Machines: Emotional Relationships Mediated by Technology and Materion. By creating material playgrounds for technological and human agency, the experiments described here aim to generate knowledge about the emotional self, critical reflection on human-machine relationships, and new imagined emotional relations resulting from the hybridity of humans and technology.作者: cleaver 時(shí)間: 2025-3-24 10:15 作者: arrhythmic 時(shí)間: 2025-3-24 13:34 作者: 付出 時(shí)間: 2025-3-24 18:21 作者: 神秘 時(shí)間: 2025-3-24 19:22
Hamid Abdollahi MD,Deborah Yu MDted in contemporary fashion practice? This chapter discusses the work of three emerging designers as a basis from which to explore whether changing digitally informed mindsets and a loss of material experience are bringing new fashion practices closer to Hunt’s vision, and what this might mean for fashion practitioners and industry.作者: BUMP 時(shí)間: 2025-3-24 23:21
I. David Kaye MD,Peter G. Passias MDd anti-disciplinary approaches and tested in particular through experimental digital and physical making strategies. Arguing that a critical fashion practice is possible, this work shows how to disrupt and reconfigure the use of tools, techniques and technologies commonly used in fashion.作者: 惡心 時(shí)間: 2025-3-25 04:55 作者: Anecdote 時(shí)間: 2025-3-25 08:13 作者: neutralize 時(shí)間: 2025-3-25 15:18
Embodied Music Interaction: Creative Design Synergies Between Music Performance and HCInteraction from an . perspective, in which ., ., . and . are important design aspects for music performance. This approach can be helpful for identifying the limitations of existing designs and potential new areas for development.作者: 種植,培養(yǎng) 時(shí)間: 2025-3-25 19:50
Digital Museum Installations: The Role of the Body in Creativityl museum art installation, illustrating how children use their bodies creatively in interaction with the exhibit, communication with one another, expression of ideas through action, and construction of a joint narrative.作者: chuckle 時(shí)間: 2025-3-25 23:09 作者: BARB 時(shí)間: 2025-3-26 03:32
The Oxymoron of Touch: The Tactile Perception of Hybrid Reality Through Material Feedbacksysical perceptions of the real are interwoven creates an embodied sense of hybrid reality, with touch as the interface that helps humans to acknowledge and shape new forms. Machines, including 3D printers, haptic sensors and robots, participate in a dialogue with our actions, minds and memories, to participate in the formation of the hybrid real.作者: REP 時(shí)間: 2025-3-26 07:50 作者: Opponent 時(shí)間: 2025-3-26 11:16 作者: Commission 時(shí)間: 2025-3-26 15:19 作者: mercenary 時(shí)間: 2025-3-26 19:01
https://doi.org/10.1007/978-3-319-41406-5le Baker’s own and collaborative performance and media practices with Kate Sicchio, around ethics of wearable technology and in smart textiles in performance, but specifically around identity and data ownership.作者: 誹謗 時(shí)間: 2025-3-26 23:06 作者: micronized 時(shí)間: 2025-3-27 03:31 作者: Graphite 時(shí)間: 2025-3-27 07:59 作者: Aprope 時(shí)間: 2025-3-27 10:42
978-1-349-95771-2The Editor(s) (if applicable) and The Author(s) 2017作者: Lacerate 時(shí)間: 2025-3-27 14:49 作者: 遍及 時(shí)間: 2025-3-27 21:01 作者: chisel 時(shí)間: 2025-3-27 23:07 作者: 輕彈 時(shí)間: 2025-3-28 03:59 作者: 征服 時(shí)間: 2025-3-28 10:09
Ellenbogen: OP-Verfahren/Nachbehandlunge, not built or constructed in a stable form. Basing its investigation of architectural and intra-active environments for wearable performance in recent productions of the DAP-Lab, this essay looks at the current collaborative METABODY research project to which the Lab contributes (in cooperation wi作者: bromide 時(shí)間: 2025-3-28 11:03
Hüfte: OP-Verfahren/Nachbehandlungence research project ‘Bodies of Planned Obsolescence: digital performance and the global politics of electronic waste’. Building on anthropologist Tim Ingold’s concept of ‘making’, a widened understanding of the term ‘digital performance’ informed shared practical activities of a group of scientist作者: forecast 時(shí)間: 2025-3-28 15:43 作者: 主動(dòng) 時(shí)間: 2025-3-28 22:27 作者: adjacent 時(shí)間: 2025-3-29 01:54 作者: 祖?zhèn)髫?cái)產(chǎn) 時(shí)間: 2025-3-29 03:58 作者: ineluctable 時(shí)間: 2025-3-29 08:10
Nicola Wolf-Kühn,Matthias Morfeldmachine creativity. I describe how touch and the material sensation of physical objects are central to this process. A context in which digital and physical perceptions of the real are interwoven creates an embodied sense of hybrid reality, with touch as the interface that helps humans to acknowledg作者: 蔓藤圖飾 時(shí)間: 2025-3-29 14:44 作者: altruism 時(shí)間: 2025-3-29 19:02
I. David Kaye MD,Peter G. Passias MD the production of clothes but rather sees fashion as a testing ground to understand our social bodies. Fashion is investigated through redirective and anti-disciplinary approaches and tested in particular through experimental digital and physical making strategies. Arguing that a critical fashion p作者: harangue 時(shí)間: 2025-3-29 22:46
https://doi.org/10.1007/978-3-319-41406-5r fitness monitoring to help users improve their health. However, the reality of this data harvesting highlights the need for critical questions to be raised about the directions, motives and ethics of corporate ownership of this data. This chapter highlights these issues within the context of Camil作者: 整潔漂亮 時(shí)間: 2025-3-30 01:00
Evaluation and Management of Chronic Painen digital fashion tools that lack sensory feedback and the critical role of designers’ embodied experience for their practice. In order to support this discussion, additional literature is brought in, which shows that in dance bodily engagement is crucial for supporting and enhancing the creative p作者: 常到 時(shí)間: 2025-3-30 04:18
Reibermüdung einbetonierter Spannkabelpter draws on the theoretical strand in the human-computer interaction (HCI) of?., a conceptual approach that is helpful for designing novel physical interactions and experiences. This chapter compares the design characteristics of tangible, mobile, wearable, gesture sensor-based, and laptop-based i作者: 星球的光亮度 時(shí)間: 2025-3-30 11:06 作者: 山頂可休息 時(shí)間: 2025-3-30 16:19 作者: 娘娘腔 時(shí)間: 2025-3-30 19:36
