Titlebook: Arts and Technology; Third International Giorgio Michelis,Francesco Tisato,Diego Bernini Conference proceedings 2013 ICST Institute for Co

Cumulus

judicial

amenity

Aesthetics of ‘We’ Human-and-Technologynology can be called as ‘We’ human-and-technology. In the concept of ‘We’ human-and-technology, technology reconciles politics and the aesthetic. Technology based contemporary art articulates that politics and the aesthetic meet in creative tension between art and technology. Technology’s investigat

SHRIK

COKE

Studying the Effect of Creative Joint Action on Musicians’ Behaviorcal test bed to investigate non-verbal social behavior, to compare the expressive movement of violinists when playing solo or in a string quartet ensemble. In the presented study, by measuring its Sample Entropy, we observe that the movement of a musician’s head in creative joint action is more regu

索賠

語(yǔ)言學(xué)

Modeling Interaction in Rehearsalss were to rehearse a jazz piece, and their progress was documented on video and in self-reports. The visible interaction between the musicians was then modeled in sequence diagrams using Unified Modeling Language (UML). The diagrams show a progress from verbal communication between the musicians tow

Coronary

The Choreographer in Action: Hints for Augmented Choreographys, lighting and other scenographic effects. This paper presents the preliminary results of ethnographic studies about how choreographers work from an interaction design perspective. Finally the paper describes the first elements of a choreographers-oriented design process for an Augmented Choreograp

勛章

Social Exploration of 1D Gamesnd implemented, in close contact with online communities of players and developers, providing evidence that 1 dimension is enough to produce interesting gameplay, to allow for level design and even to leave room for artistic considerations on 1D rendering. General techniques to re-design classic 2D

RENIN

https://doi.org/10.1057/9780230535770ge frames; creating a photo app in Android to re-use these frames as guides for a frame-by-frame reenactment; and finally reassembling the collected images into a new video. Through the affordances of digital and mobile media, it allowed participants in New York and Teheran to create a shared dance