Virtual Creativity 8.2 is now available

Intellect is happy to announce that Virtual Creativity 8.2 is now available! 

For more information about the issue, click here >>,id=3681/


Authors: Denise Doyle 

Exploring the networked image in ‘post’ art practices
Authors: Garrett Lynch 

This article presents and discusses a series of four networked artworks undertaken since 2013. The artworks are performative, created within the web over a duration of time, are visible to an audience throughout their creation and as such can be considered as durational networked performances. Different in subject matter they overlap considerably in the themes, form and methods employed and constitute a body of research that explores the networked image in relation to a number of ‘post’ art practices. Specifically, this includes the questioning of media and form through postmedia, post-photographic, post-digital, post-Internet and post-screen practices in addition to addressing the manner in which the artist creates through postdisciplinary and postproduction methods.

Systems of seeing: Virtual gaze interaction
Authors: Jeremiah Ambrose 

Augmenting Berger’s Ways of Seeing (1972), this article seeks to define and contextualize the most dominant form of perceptual interaction in virtual reality. Combining my own practice with an art-historical overview, I explore a creative application of interactive 360° film, whilst also addressing the need to critically engage with this new medium. I propose that given the rate at which metadata became one of the most valuable commodities of the twenty-first century, our ocular interactions will no doubt become subsumed into these systems. As the discourse of digital artistic practice shifts from digital to post-digital a central concern of virtual reality is the disembodiment it generates, but the irony here is that the first-person body is in fact a virtual camera. More in line with Vertov’s (1896–1954) prescient cybernetic concepts surrounding the kino-eye, virtual gaze interaction offers utopian real-time interaction in the same breath as it exemplifies an Orwellian nightmare. Beyond this cinematographic perspective of the virtual body is the more pertinent need to explore the implications and potential applications of this new type of interaction. The gaze has been a site of theoretical discussion for many theorists, including; Sartre, Foucault and Virilio. However, the interactive gaze is still a site in need of a discourse. Discussed in this article is a site-specific installation, which physically and virtually demonstrates an application of virtual gaze interaction applied to Magritte’s La Clef Des Songes (The Key to Dreams). Extending from Berger’s choice in cover art, it uses different forms of reproduction towards a focus not on what is lost, but what is gained through these new processes of visual interaction. In addition to establishing a historiography and associated praxis for virtual gaze interaction, I present a framework for digital futures pertaining to ocular interactions in media art and beyond. Embedded in this discussion are considerations on the politics of vision and the potential impact this will have on how we perceive and the perception of media art.

3D technology as an effective tool for reflection simulation: The Beagle 2 lander on Mars
Authors: Teodora Kuzmanova And Nick Higgett And Mark Sims And Eric Tatham And Jim Clemmet 

Beagle 2, developed for the European Space Agency’s Mars Express Mission by the Beagle 2 Consortium, was due to land on Mars on 25 December 2003. After being successfully ejected from the ESA’s orbiter Mars Express, followed by an attempted landing, the spacecraft failed to communicate with Earth, and the mission was presumed lost. However, in January 2015, it was announced that satellite images from NASA’s Mars Reconnaissance Orbiter (MRO) indicated the possibility of a successful landing by Beagle 2. In the light of these findings and the considerable uncertainty still surrounding the outcome of the mission, a team of researchers from De Montfort University and the University of Leicester have joined in a collaborative project aimed at identifying whether the object captured by NASA’s HiRISE camera is Beagle 2, and detecting its possible landing configuration. The practical scientific experiment employed the innovative concept of ‘reflection analysis’, propounded by Dr Mark Sims – former Beagle 2 Mission Manager and professor of astrobiology and Space Instrumentation at the Space Research Centre, University of Leicester. The technique stemmed from the idea of simulating possible configurations of the Beagle 2 lander, testing how they reflect light and comparing the 3D renders to unprocessed images, available from the MRO’s HiRISE camera at a number of different sun angles. De Montfort University’s team used commercial 3D modelling technology to create a 3D model of the spacecraft and replicate virtually the sun angles at the times the satellite images were taken. This allowed a comparison of the simulated 3D renders to the satellite images to estimate the configuration of Beagle 2 on Mars. The results revealed that Beagle 2 probably deployed at least three, and possibly all four of its solar panels after landing on the planet’s surface.

Newly generated ritual in the age of digital technology
Authors: Minso Kim 

This study aims at re-constructing the philosopher Walter Benjamin’s celebrated contention from his 1936 article, ‘The work of art in the age of mechanical reproduction’, regarding the disappearance of aura and ritual within widely replicated artworks. By introducing artworks that circulate within virtual space, I will demonstrate how, in the era of digital technology, numerous examples show us that mass reproduction helps aura to exist; leads to the creation of new ritual phenomena; and both recuperates and transforms the idea of the ‘disappearance’ of rituals. In this article, transformation of these newly generated rituals appears via the generation of online fan fiction. First, the article details rituals created by the character, Spock, in the television series, Star Trek (Roddenberry, 1966–69), followed by the phenomenon of 1990s Korean popular culture, fan fiction. In addition, the scope expands to include an example of ‘after school programs’ incorporating K-pop, allowing digital spaces to produce and foster new forms of ritual via online artworks. This article references sociocultural examples from film and aura in American television, and then highlights two Korean fan communities to suggest an extended interpretation of Benjamin’s ideas to include artworks circulating in digital environments.

Crafting virtual reality
Authors: Lynne Heller 

This text describes, illustrates and theorizes the creation of a virtual reality (VR) landscape/game/sojourn, titled One for Sorrow, an artwork that seeks to confound the dichotomies between hand and digital making and the illusion of two dimensionality versus three dimensionality. This text also describes the making process as a way to position and trouble the translation of the handmade into the digital using collage, assemblage and montage along with craft theory. Although ostensibly a first person puzzle game, the experience uses the old nursery rhyme One for Sorrow to entice the player to explore and discover, not necessarily mixed realities, but rather, mixed sensibilities – 2D/3D, hand/algorithm, drawn/photographic. Digital and handmade aesthetics, coupled with considered sound design and narrative, can evoke an immersive experience and provide an unorthodox model for VR art.

By the Code of Soil
Authors: Kasia Molga 

Reviews Editor Introduction
Authors: Lynne Heller 

Seminar Review
Authors: Antônio Mozelli 

SAD 2018: 4TH Seminar of Digital Arts: Recurrence and Hybridization, Belo Horizonte, Minas Gerais, Brazil, 25–27 April 2018

Event Review
Authors: Nina Czegledy 

ISEA2018: 24th International Symposium on Electronic Art: Intersections, Durban, South Africa, 23–30 June 2018

Event Review
Authors: Nina Czegledy 

In praise of the FEMeeting, Portugal, 15–16 June 2018
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