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The Arts are known to foster creativity, empathy, self-efficacy, social awareness, and critical thinking skills. Engagement in and through the Arts contributes to building social cohesion while supporting wellbeing. This research takes place in Australia were the Arts (Dance, Drama, Media Arts, Music, and Visual Arts) play an important role in society, and across school curriculum. This paper forms part of a wider study (name to be inserted). We explore student perceptions in relation to ‘Why Arts Education is important in primary schools?’. Students undertaking initial teacher education (ITE) primary programmes participated (September–December 2023, n = 120) by completing an online survey. Qualtrics Stats IQ were used to statistically analyse quantitative data, and Reflexive Thematic Analysis was employed for qualitative data analysis. Given the sample size, generalisations cannot be made to all Australian universities. The two themes (valuing Arts Education, and opportunities and implications) highlight student perceptions of Arts Education. Whilst recommendations are offered, further investigation into the benefits of teaching the Arts across all areas of the curriculum is needed. If Arts Education matters, then why are we waiting to include it in all schools and ITE programmes? [ABSTRACT FROM AUTHOR]

Whereas Ricardo Piglia's work has often been read through the literary traditions he so neatly sketched out, this article situates Ricardo Piglia's La ciudad ausente in the artistic avant-garde of the mid-twentieth century in Buenos Aires. We focus on two significant moments in Argentine cultural history that appear within the novel that, we argue, suggest an approach to resistance as informed by a technique of infiltration: Grete Stern's Sueños photomontages (1948-1952, 1968) and the Happening por un jabalí difunto (1966) by the group Arte de los medios de comunicación. The strains of utopia that appear throughout La ciudad ausente are considered in light of the possible utopianism present as well in these artistic initiatives, which undermine and reveal hegemonic narratives transmitted through mass media with a parodic and dissenting appropriation of these forms of communication. [ABSTRACT FROM AUTHOR]

The multidisciplinary artist duo LoVid have been making art that combines analog and digital media, as well as handmade and code-based methods, for nearly a quarter century. Topics discussed in this interview include image processing, generative art, Web3, and sociality in contemporary media art. [ABSTRACT FROM AUTHOR]

The article in Leonardo delves into the histories, legacies, and futures of image-processing, paying tribute to pioneering figures Louise (Etra) Ledeen and Ralph Hocking. It explores the early emergence and experimentation with image processing equipment, highlighting collaborations between artists, musicians, and engineers in creating the first generation of video processing tools. The text also discusses the philosophical tenets of artists who embraced image processing, emphasizing the live performance aspect and the element of discovery and feedback in creating works of image processing. The special section in the journal revisits these histories, explores legacies, and looks towards future possibilities in bioart and AI spaces. [Extracted from the article]

The Nipulator electronic bra is a custom-built wearable device that uses two potentiometers, a hacked DJ Hero microcontroller, and Cycling '74 software to (nip)ulate the author's voice and image in real time. The bra functions as an instrument for live video and sound processing as well as a feminist art object. This essay discusses how the author's work with rare and historically significant image and sound processing tools like the Sandin Image Processor, Jones Frame Buffer, and Paik-Abe Raster Manipulation Unit influenced the creation of The Nipulator, as well as her experimental media art practice. Other artistic and personal influences are also considered, and a thorough description of the bra's design, technical evolution, and durability challenges is provided. [ABSTRACT FROM AUTHOR]

We propose an automatic method for generating flight summaries of prescribed duration, given any planed 3D trajectory of a flying object. The challenge is to select relevant time‐ellipses, while keeping and adequately framing the most interesting parts of the trajectory, and enforcing cinematographic rules between the selected shots. Our solution optimizes the visual quality of the output video both in terms of camera view and film editing choices, thanks to a new optimization technique, designed to jointly optimize the selection of the interesting parts of a flight, and the camera animation parameters over time. To our best knowledge, this solution is the first one to address camera control, film editing, and trajectory summarizing at once. Ablation studies demonstrate the visual quality of the flights summaries we generate compared to alternative methods. [ABSTRACT FROM AUTHOR]

This piece documents a digital media/sculptural installation by the author that used windsocks to translate weather date into poetry about continued Indigenous presence, reconciliation to relationality to nature. The piece was originally commissioned by the Blackwood Gallery in Toronto, and this text first appeared in the 2023 edition of The Other Almanac (OR Books). [ABSTRACT FROM AUTHOR]

The article proposes a theory of artistic medium through a conjoint reading of Martin Heidegger and Stanley Cavell. My thesis is that the concept of the medium such reading yields is a necessary dimension of the idea of art still operative in the contemporary "post-medium condition," in which the material bases of works are no longer bound to conventional identification within the system of the arts. I show that Rosalind Krauss's conception of "reinventing the medium" as the essential artistic task of this situation is adumbrated in a central tenet of Cavell's philosophy of art: an artistic medium is created—rather than applied—in a successful artistic instance. I further show that this notion, consistently associated with the figure of circularity in Cavell's text, is grounded in Heidegger's understanding of the artwork as a world-disclosing event, paradoxically creating its own conditions. In the last two sections of the paper, I explore the significance of artistic medium for both philosophers as the bearer of the transcendental claim for "material meaning" against the prevailing Cartesian paradigm of modernity. Finally, I argue that Heidegger's interpretation of the artwork's material basis as "coming-forth-concealing," furthered by Jean-Luc Nancy's notion of "matter-as-difference," makes the concept of the medium, so construed, universally applicable to the variety of arts in the post-medium condition, and grounds the ontological necessity of this multiplicity. [ABSTRACT FROM AUTHOR]

As airport terminals continue to expand, the level of noise steadily increases, and yet when we think of an airport lounge, we tend to recall an image rather than a sound. Simultaneously, modern airport terminal design incorporates sound media artworks that appear to be adding to the existing cacophonic soundscape. Understanding that sound plays a formative—albeit often nonconscious—role in the shaping of our sense perception of (airport) space, in this article—resorting to Gilles Deleuze and Félix Guattari's radical empiricism—I speculate an immanent and metallurgical approach towards airport sound art, which puts forth aesthetic experience as essentially entangled with airport space and the sensorium. Engaging with two of an American artist, Christopher Janney's airport sound and visual installations, the article posits sonorous assemblages to explore a sonic aesthetic of airport experience. In probing the boundaries of routinized perception, it thus forays into an extraperceptual dimension of spatial aesthetics. [ABSTRACT FROM AUTHOR]

Processing is a popular graphical library and IDE developed for electronic art and visual design communities, with a strong focus on teaching art, design, and creative technologies students computer programming fundamentals in a visual context. Processing provides a collection of special commands to draw, animate, and handle user input using Java. Users can enable Python Mode (also called Processing.py) for Processing in the IDE interface. This leverages Jython, a Java implementation of Python, to interface with Processing's Java core, providing a way to write Processing code using Python syntax. This paper proposes that combining Processing and Python provides an ideal development environment for teaching creative programming fundamentals. Several new Processing-Python tools have emerged, but no attempts to integrate one of the most promising, the py5 library created by Jim Schmitz, into a Processing-like-IDE experience. py5 offers features not available with Jython, such as compatibility with Python 3 and support for CPython libraries. This paper presents a new coding environment, thonny-py5mode, developed as a software plugin for the Thonny IDE, which brings a convenient, beginner-friendly setup like that of Processing's Python Mode to users working with py5. [ABSTRACT FROM AUTHOR]

This survey examines the evolution and impact of real-time brainmedia on artistic exploration, contextualizing developments within a historical framework. To enhance knowledge on the entanglement between the brain, mind, and body in an increasingly mediated world, this work defines a clear scope at the intersection of bio art and interactive art, concentrating on real-time brainmedia artworks developed in the 21st century. It proposes a set of criteria and a taxonomy based on historical notions, interaction dynamics, and media art representations. The goal is to provide a comprehensive overview of real-time brainmedia, setting the stage for future explorations of new paradigms in communication between humans, machines, and the environment. [ABSTRACT FROM AUTHOR]

The goal of the paper is to examine how convolutional neural network (CNN) is used in the immersive world of digital media art. In order to do this, this paper first explains digital media art in the context of smart cities and the use of immersive scenarios. Next, a brief analysis of the Unet network model and deep aggregation structure is provided. Then, a projector, camera, and computer-based immersive projector-camera display system is constructed. Based on the mathematical reflection model of the system, this paper discusses the method of using CNN to solve the photometric compensation of the projection picture. Meanwhile, a Projection Compensation Network (PCN) is designed, and a multi-scale perceptual loss is added to this compensation network, and the content information of the compensated image is improved by calculating the loss of feature maps of different scales. The final network is named Perceptual Loss-Projection Compensation Network (PL-PCN). Experiments are used to confirm the PL-PCN model's efficacy. The outcomes demonstrate that the SSIM and PSNR of the projected picture compensated by PL-PCN are boosted by 35.8% and 31.6%, respectively. While the RMSE is reduced by 40.9%, demonstrating an improvement in the compensated image's quality. Additionally, utilizing a CNN makes it possible to do cross-reflection compensation. Additionally, compared to the network without deep polymerization, the PL-PCN with deep polymerization structure boosts the projected image's SSIM and PSNR by 6% and 7.57%, respectively, and lowers the RMSE by 13.3% This demonstrates that the addition of deep polymerization structure can have a stronger compensatory effect. This paper can offer a theoretical framework for improving the immersive scene quality of digital media art. [ABSTRACT FROM AUTHOR]

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study explores the comprehension and implementation of Internationalisation at Home (IaH) within universities in sending countries, an aspect often overlooked in previous research. Drawing upon the praxiology theory, a practice-focused ethnographic study was conducted at a regional university in China, specifically within a Sino-foreign institute of multimedia design. The study established a practice-based framework, termed 'I-STEP', for the IaH of professional master's education in digital media arts. The framework comprises a dual-tiered structure encompassing critical themes including intentions, studios, teachers, exchanges, and platforms. The proposed framework can be used to describe and elucidate the internationalisation practices within a particular context, assisting institutions in recognising the current landscape and formulating future plans and strategies. Additionally, the potential broader relevance, future refinement, and evaluation of the proposed framework were also discussed. [ABSTRACT FROM AUTHOR]

Plants communicate with their fellow species, but also with other species. The communication of humans with plants, in turn, represents an old phantasm that is intended to lead to contact with the seemingly mute creatures. This article revisits the history of plant cognition from a media theory perspective. The article questions the extent to which media and electricity have historically been and are currently leitmotifs for entering into resonance with plants. The focus is on media-historical and science-historical approaches that have conferred to plants the ability to communicate and on current sensor interfaces through which plants are turned into sound in media art. The article argues that, whenever media technology makes plants ‘speak’, what the human listener actually hears is the medium, not the plant, because it is a human construct.

The rapid development of neural network technologies in recent years has given rise to the formation of many interdisciplinary research areas, including neural network aesthetics. The aesthetics of generative creativity today is studied not only in the context of the history of digital art, but also in comparison with the practices of other artistic trends and schools. Thus, the expression “neural surrealism”, which has become entrenched in popular discourse, undoubtedly refers to the aesthetics of classical surrealism, framed and fixed in Andre Breton’s program texts: neural network algorithms allow you to create images that seem both realistic and absurd due to unexpected combinations of objects, distorted proportions and presence of uncanny images. Although “neural surrealism” can be seen as a depoliticized and unbiased game of generated images in contrast to the surrealism of the 1920s and 30s, which was not merely an artistic movement but a radical social project, it appears that the very ability of neural networks to generate extraordinary and unpredictable images holds a certain critical potential. Using the methods of formal-stylistic and ideological-content analysis, the author of the article concludes that “neurosurrealism” in a sense continues the line of classical surrealism to undermine the automatism of perception and patterns of thinking. Generative algorithms become a kind of “exclusion production machines” that allow you to see reality from an unexpected angle. In addition, the very fact of using neural networks in art raises important questions about the nature of creativity, the limits of artificial intelligence and the future of man in the world of smart machines. Neurosurrealism problematizes well-established ideas about the originality and intentionality of artistic expression, which indicates the close connection of generative artistic practices with the aesthetics of classical surrealist creativity. The conducted research will be useful to specialists of a wide profile: media theorists, art historians, philosophers, cultural scientists, as well as developers and representatives of the creative industries.

This study explores the integration of media arts with mathematics education through a focused investigation of the Pythagorean theorem, aiming to elucidate how this interdisciplinary approach can enhance student engagement and conceptual understanding. Recognizing the transformative potential of technology in education, we specifically examine the use of digital media arts tools to teach this foundational mathematical concept. Our research is motivated by the goal of leveraging technology to create more engaging and effective learning experiences in mathematics, thereby addressing challenges in teaching abstract concepts. We investigate the pedagogical benefits of integrating media arts into mathematics education through a qualitative case study involving undergraduate research assistants. The selection of the Pythagorean theorem as our focal point is justified by its critical importance in geometry and its wide applicability across STEM fields. Our findings reveal that media arts foster deeper engagement and facilitate a more comprehensive understanding of mathematical principles among students. This paper contributes to the field by providing evidence-based insights into the synergistic potential of combining media arts with mathematics education, underscoring the value of innovative approaches in enhancing the learning and teaching of mathematics. [ABSTRACT FROM AUTHOR]

The article explores the intersection of artificial intelligence and art through the work of New York-based artist Ian Cheng, known for his AI-driven simulations. Cheng's practice blurs the lines between software art and cognitive science, creating digital environments where AI agents interact in live video installations. His work challenges traditional notions of creativity and intelligence, emphasizing emergence and behavior as key elements. Cheng's latest project, "Life after BOB," speculates on the future of human-computer interaction, raising questions about the boundaries between human and machine intelligence. [Extracted from the article]

The article explores the intersection of synthetic speech technologies and computer-mediated visuals in contemporary media production, focusing on the emergence of AI video dubbing tools like TrueSync. It discusses the implications of digitized voices, deepfake technology, and the ethical considerations surrounding the use of AI-generated voice actors. TrueSync, developed by Flawless AI, utilizes machine learning to create lip-synced translations for audiovisual media, offering new opportunities for multilingual film production while raising questions about performer rights and the impact on the film industry. The article also delves into the historical context of multilingual film versions and the cultural implications of TrueSync's generative AI technology in the globalized media landscape. [Extracted from the article]

The article discusses the increasing integration of artificial intelligence (AI) tools in the moving image production process, from concept art to post-production work. It highlights both the creative potential and ethical concerns surrounding AI-generated content, such as deepfake pornography and copyright infringement. The text also explores the impact of AI on labor rights in the entertainment industry and emphasizes the need for a nuanced evaluation of AI's role in shaping contemporary media aesthetics and workflows. [Extracted from the article]

This paper discusses the manuscript "The Hidden and the Seen: Art as an Intersubjective Medium." The author used artwork in psychoanalytic treatment to explore exhibitionism. Additionally, this paper will explore the use of artwork to analyze the conversion of trauma into voyeurism. It highlights various ways to incorporate art, focusing on how a patient's fixation can be harmful, reparative, and pleasurable. [ABSTRACT FROM AUTHOR]

This paper explores the intersection of art and psychoanalysis, specifically the various ways in which the introduction of works of art into treatment can open pathways of intersubjective exploration and understanding of the patient's unconscious processes that may have been otherwise hidden. Similar to the function of dreams and free association in psychoanalysis, a patient's connection and identification with specific works of art may illuminate aspects of their unconscious organizing activity, or simply reiterate and re-confirm already-discovered dynamics of their internal world. Art in this context acts as an intersubjective medium through which associations from both the analyst and the analysand reflect one another and reveal deeper interpretations. This topic is explored by way of a clinical vignette in which the patient's love for a particular painting opens up associations for both the patient and the analyst, areas of exploration that lead into deeper realms of the patient's internalized relational world and his exhibitionism. Although the patient in this vignette has had significant experience with psychoanalysis, elusive areas of unconsciousness remain. His associations to his favorite painting by the Renaissance painter Giorgione and the analyst's own associations to the painting help to illuminate hidden sectors of the patient's unconscious processes, including how his developmental longing for admiration is in direct contradiction to his felt need to remain hidden, and how this conflict expresses itself in his exhibitionism. [ABSTRACT FROM AUTHOR]

The structural-contextual dual frameworks theory comprises two heuristic frameworks that provide alternative means for the interpretation of metaphor in pictorial artworks (Crawford & Juricevic, 2016). The first of these frameworks is the contextual framework, which contends that the interpretation of pictorial metaphors is contextually rooted, and the second is the structural framework which interprets metaphor based on structural components of an artwork. We used these frameworks to analyze the literal and metaphorical use of the pictorial device of exaggerated size in 59 well-known works of art sampled from across history. Exaggerated size was chosen for analysis because it is often used literally (e.g., to depict an actual giant) or metaphorically (e.g., to depict an existential concern). The artworks were sorted into four separate categories (Literal-Literal, Metaphorical-Literal, Literal-Metaphorical, and Metaphorical-Metaphorical) based on their interpretation by the structural and contextual frameworks (respectively). A cumulative Poisson distribution with α <.05 revealed that artists typically produced artworks in all categories except for the incongruent combination of literal contextual information and metaphoric structural information. This suggests that when contextual and structural information conflicts in art, viewers rely on contextual information; when metaphoric and literal information conflicts, viewers favor metaphoric interpretations. This present study supports the idea that the structural-contextual dual frameworks theory may be used to investigate the use of metaphors across art styles and media. These results also provide a guide for combining literal and metaphorical information, whether the goal is ease of communication or to intentionally challenge the viewer. [ABSTRACT FROM AUTHOR]

Science art practices are often framed as science communication in a manner that overlooks the capacity of the arts to provide engagement opportunities beyond discourse. The authors perform a thematic analysis of audience interviews from scientific media art installations that depict complex, intangible, invisible, and ephemeral scientific phenomena, specifically focusing on medical nanotechnology. The analysis reveals that visitors recognize sensorial experiences beyond traditional science communication, while scientists' experiences expanded their definition of engagement. The authors argue that scientific media art practices act as sites of meaning-making and nondiscursive engagement that create reflective and embodied contexts for encounters with emerging technologies. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

With the maturity of digital technology, the effectiveness of information transmission has received extensive attention. Variable font design is regarded as an extension of graphic design in digital media art, and variable font design is studied from the perspective of information communication design. From the perspective of digital technology, based on the research theory of variable information communication design, combined with the specific methods of font design, the perception, cognitive methods, and aesthetic laws of aesthetic subject vision and psychology in the field of font variable design are discussed. Provide relevant theoretical support for information communication design activities with variable fonts. Based on artificial intelligence technology, a new interactive art expression method is proposed. By analyzing the main expression scenarios of interactive art, namely user information communication scenarios, interactive art push scenarios, interactive art promotion scenarios and personal service scenarios, it provides a scenario application basis for interactive expression, calculate the space complexity, space complexity and resource complexity, according to the complexity calculation results, carry out interaction design from three aspects of visual elements, multimedia elements, and human-computer interaction elements, integrate the topology structure after the interaction is realized, and in the network topology structure. The proposed model consists mainly of visual design, basic design elements, basic visual design, complete design and solution generation. It realizes the expression of interactive art of multimedia elements in display and control. The experimental results show that the interactive element extraction speed of the visual communication expression method based on artificial intelligence technology is increased by 30%, and the flexibility is stronger. [ABSTRACT FROM AUTHOR]

This article is an audience ethnography, focusing on the documentary The Work (dir Jairus McLeary and Gethin Aldous, US, 2017), which depicts a four-day therapeutic programme involving men from the community and men from a high security prison. The film was screened to audiences of people who live and work in an English prison-based therapeutic community. Previous prison-based audience studies have highlighted the significance of the media text and the characteristics and experiences of the audience, but have not specifically addressed the salience of the context in which the media is consumed. By conducting the research in an atypical penal environment, the intention is to illuminate how consumption is affected by different penal contexts. The audience offered macro, meso and micro level responses to the documentary. At a macro level, they recognised the reforming intentions of the film, but also revealed the limitations of popular culture, with its emphasis on spectacle. At a meso level, the audience offered a sophisticated and expert analysis of the content and omissions of the film's representation of therapeutic processes and cultures. At a micro level, those serving prison sentences used the content of film as therapeutic material, reflecting on their own emotions and experiences, while the prison staff used the content to explore their professional identities. The audiences viewed the film through a therapeutic habitus, and media consumption was a way of enacting and reinforcing the expectations and practices of therapeutic community life. By highlighting the salience and variability of penal contexts, the study extends prison-based audience scholarship, but also highlights a factor that should be considered in the planning and design of media and arts programmes in prison. [ABSTRACT FROM AUTHOR]

The rapidly evolving nature of emerging technologies renders artworks made using such technologies a challenging category of objects to be handled by institutions. This paper presents real scenarios of how art made with Virtual Reality (VR) and Augmented Reality (AR) is acquired, exhibited and finally preserved by museums and art institutions, presenting a clear picture of a particular period. Though an extensive body of literature and studies deal with the preservation of 'New Media', very few focus on the challenges faced by museums and private institutions when it comes to artworks that use VR/AR. We used in-depth interviews with eight museum professionals working in six key institutions that engage with VR/AR artworks, and four artists, who create such works, in order to define current institutional practices, understand the challenges museum professionals face when dealing with VR/AR artworks, and identify the preservation-related concerns of artists working with these technologies. [ABSTRACT FROM AUTHOR]

With the enrichment of digital technology, new media art has become a hot topic in the current art field. However, the academic field lacks a comprehensive discussion on the development trend of new media art in China. To gain a clearer understanding of the development process of Chinese New Media Art, this research adopts the method of bibliometrics combined with CiteSpace Knowledge Map visualization software. Using 550 articles from the CSSCI Database for visualization knowledge map presentation, data analysis is conducted on the number of annual publications, academic institutions and authors, and bursting keywords. This presents the development history, evolution of hotspots, and future trends of Chinese New Media Art. The research found that the number of annual publications of Chinese new media art can be divided into four stages: slow growth from 2003 to 2006, rapid growth from 2007 to 2010, slow increase from 2011 to 2017, and fluctuating development from 2017 to 2022. Secondly, there is a low density of cooperation between authors and academic institutions, and no clear academic groups have been formed, with academic institutions mainly located in economically developed first-tier cities. It is predicted that "Virtual Reality, Artificial Intelligence, and Human-Computer Interaction" will become the future development directions of Chinese new media art research. It is hoped that this research can provide theoretical reference and data support for the future development of New Media Art in China. [ABSTRACT FROM AUTHOR]

The absence of clear protocols in the conservation of new media art has led to a situation of extreme precariousness of digital artworks. The irruption of blockchain culture and NFTs seems to offer an opportunity to overcome this situation. This paper aims to clarify whether or not the structure of data and metadata associated with transactions in the blockchain solves the challenging obsolescent and unstable condition of new media art. The disturbing reality is that the so-called 'cryptoart' is not always stored and encapsulated on the blockchain itself. In a high number of cases, assets just point to artworks living outside, stored on off-chain servers or platforms. This paper analyzes the possibilities for the preservation of art hosted on the chain. Despite some limitations, this method is understood as the more coherent and robust for long-term life and availability of digital art associated with Web3 technology. [ABSTRACT FROM AUTHOR]

This paper considers the intersection of performativity and intersemiotic translation in contemporary art through a case study of a new media art project aimed at visually transcoding Dung Kai-Cheung's novel Atlas: The Archaeology of an Imaginary City, a book of postmodern fiction about the palimpsest nature of Hong Kong as a linguistic landscape and a city of (cultural) translation. In Hong Kong Atlas, the locations in Dung's book are performatively mapped out onto the real semioscape of contemporary Hong Kong using psychogeography documented in digital images, which are then transcoded through a series of iterative translations into a variety of visual formats. By analysing the complex methodology and the unique interdisciplinary theoretical framework underpinning this artistic research (combining insights from fields such as visual studies, translation studies, sociolinguistics, multimodal discourse analysis, art theory, and practice-based research epistemology), the article aims to provide a novel approach to the discussion of visual translation as intersemiotic translation. [ABSTRACT FROM AUTHOR]

This paper promoted the development of new media art and film and television culture creation through multi-modal information fusion and analysis, and discussed the existing problems of new media art and film and television culture creation at present, including piracy, management problems and lack of innovation ability. The network structure of RNN neural network can cycle information among neurons, retain the memory of previous user information in the progressive learning sequence, analyze user behavior data through previous memory, accurately recommend users, and provide artists with a basis for user preferences. The viewing experience scores for works 1 to 5 created using traditional creative methods were 6.23, 6.02, 6.56, 6.64, and 6.88, respectively. The viewing experience scores for works 1 to 5 created through multi-modal information fusion and analysis were 9.41, 9.08, 9.11, 9.61, and 8.44, respectively. Movies created through multi-modal information fusion and analysis had higher viewing experience ratings. The results of this article emphasize that multi-modal information fusion and analysis can overcome the limitations of traditional single creative methods, provide rich and diverse expressions, and enable creators to more flexibly respond to complex creative needs, thereby achieving better creative effects. [ABSTRACT FROM AUTHOR]

Explainable Artificial Intelligence (XAI) enables Artificial Intelligence (AI) to explain its decisions. This holds the promise of making AI more understandable to users, improving interaction, and establishing an adequate level of trust. We tested this claim in the high-risk task of AI-assisted mushroom hunting, where people had to decide whether a mushroom was edible or poisonous. In a between-subjects experiment, 328 visitors of an Austrian media art festival played a tablet-based mushroom hunting game while walking through a highly immersive artificial indoor forest. As part of the game, an artificially intelligent app analyzed photos of the mushrooms they found and recommended classifications. One group saw the AI's decisions only, while a second group additionally received attribution-based and example-based visual explanations of the AI's recommendation. The results show that participants with visual explanations outperformed participants without explanations in correct edibility assessments and pick-up decisions. This exhibition-based experiment thus replicated the decision-making results of a previous online study. However, unlike in the previous study, the visual explanations did not significantly affect levels of trust or acceptance measures. In a direct comparison, we consequently discuss the findings in terms of generalizability. Besides the scientific contribution, we discuss the direct impact of conducting XAI experiments in immersive art- and game-based environments in exhibition contexts on visitors and local communities by triggering reflection and awareness for psychological issues of human–AI interaction. [ABSTRACT FROM AUTHOR]

Copyright of Art Time is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Internacional de la Imagen is the property of Common Ground Research Networks and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ali Smith's Seasonal Quartet is a project about the present, and about how we understand and represent events while they are unfolding. It represents Smith's interest, as she has described it, in 'returning' the novel 'to the notion of the new,' telling stories about ongoing current events and emerging social forms (Armitstead 2019). It is also interested in the art of being present, and in the kinds of presence that art asks of its audience. In Artful, her work of creative criticism, Smith writes that art is 'a broken thing if it's anything, and... the act of remaking, or imagining, or imaginative involvement, is what makes the difference' (2014: 25). Smith's citation practice plays a crucial role in her project's attempt to understand and represent the present. Citations abound in the Seasonal Quartet: they play a central role in each individual text, connect characters across the series, and offer concrete ties to the world outside each book's covers. Despite the important role that external pieces of art and media play in her novels, Smith's references to them are often opaque, and identifying them relies on a combination of cultural knowledge, search engine savvy, and chance. In this essay, I argue that this opacity—especially when read alongside scenes where characters fail to recognize the art they encounter or repurpose it in creative ways—invites readers to search for the art Smith references and experience it themselves. In attempting to narrate the present as it is happening, using an "old" medium associated with temporal lag rather than immediacy, Smith's project explores the role of the book in the present, inviting readers to consider how the book might be uniquely positioned to help us understand, represent, and navigate contemporary life. [ABSTRACT FROM AUTHOR]

In the mid-1970s the group Laboratory of Presentation Techniques (LPT) was active at the Academy of Fine Arts in Katowice. The artists conducted experiments and formal searches, exploring the potential of film, performance, and a new medium: video. LPT was the first in Silesia, the second in Poland, and one of the first artistic groups in Europe dealing with video art. Looking at the artistic path of Grzegorz G. Zgraja, the last of the artists, as well as Jadwiga and Jacek Singer's works, the paper analyzes the most pivotal artistic achievements of the group. Based on the interviews and archival research, the author reconstructs LPT's artistic contribution to European media art and the reasons these pioneers of media art were forgotten. [ABSTRACT FROM AUTHOR]

This paper calls for a reassessment of early-stage Korean avant-garde and experimental art as the cornerstone of Korean media art. The aim is to discern a new genealogy of media art in Korea by tracing and linking the activities of early avant-garde artists and media art pioneers who have been neglected in the dominant art historiography, which has shown a preference for painting and video art. My detailed analysis of the experimental artists of the 1960s and 1970s, small groups in the mid-1980s, and the Art Tech Group in the early 1990s demonstrates how they revealed and articulated their spirit of resistance against academism and the mainstream using technology, thus following a different trajectory from that of the avant-garde and media art in Europe and North America. [ABSTRACT FROM AUTHOR]

As its aesthetics, methods, and conceptual focus have, in many respects, merged with those of mainstream contemporary art, the boundaries of media art have become more unclear than when the use of technology in art was more of a rare occurrence. While the term "media art" may be helpful in designating a particular sphere of practice and discourse, its current meaning has shifted as a result of changing contexts surrounding the use of technology in art. From its close association with "new media" such as the digital computer, the internet, screen-based media, and interactive systems in the early days of media art as a field, this term now bears re-evaluation in light of the pervasive use of technology we are familiar with in the post-digital condition. As many of these defining forms of new media have lost their novelty and have also been adopted in mainstream artistic practices, media art may be defined less by its engagement with specific media than by stylistic and referential aspects derived from its historical lineage. This paper draws comparisons between early discussions on media art and recent developments in this area with the aim of developing insights into whether and in what capacity media art remains relevant as a term for addressing technologically engaged contemporary artistic practices. By considering media art in such terms, this investigation reconsiders what may be regarded as defining aspects of the field, enquiring into what potential this reframing may have for practitioners and theorists working with this topic.

Borrowing from computing via media art, we introduce the concept of 'glitch' pedagogy to insert unexpected tension into the marketing curriculum, offering learners a glimpse into the underlying ideological structures of neoliberal higher education and opening up spaces of resistance and affirmation. We draw on neoliberal, marketised educational discourses and the bureaucratic systems they engender to illustrate glitches within the employability agenda, providing students conceptual space to leverage the contradictions and inequalities implicit in this agenda. As a genre of post-critical pedagogy, we argue that glitch pedagogy can move us beyond some of the noted dualisms of critical pedagogy to recognise the complexity of students' emotional investments, in particular socio-cultural and political positions by way of affective relations. [ABSTRACT FROM AUTHOR]

This work illustrates what kinds of consumption emerge during a traumatic life event, theorising the interweaving of trauma and catharsis through the medium of art and craft consumption. The methodological context sits within a non-representational theory where the data are narrated through the purchases and findings, physical, emotional and cognitive engagement with art and craft materials, through to the eventual place, value and story of the made artefact itself. The work presents three main contributions: an empirical understanding of therapeutic art consumption within trauma; a methodological experiment in how using non-representational theory centred on creative processes can develop worthy modes of data collection, organisation, and analysis; and the theoretical development of a consumption framework towards a theory of cathartic consumption during trauma. [ABSTRACT FROM AUTHOR]

Clothing the body is a human activity par excellence and clothes, insofar as they are an embodied everyday practice experienced by all cultures, tend to migrate with their owners. Clothes offer protection, operate between the self and others, and might also function as mementoes connecting past, present, and future. Attentive to the ways in which clothes affect and are affected by the body, authors writing about contemporary refugeeism have concocted powerful images of the (un)clothed body to render the depersonalization to which refugees are often subjected, the uncertainties surrounding their condition, and how material culture objects might help them preserve a sense of self-continuity. Engaging intertextually and ekphrastically with a wide range of media and art forms, Emma Lee's The Significance of a Dress (2020) reimagines the narratives embedded in those tex(tile)s moving across borders. Focusing on those poems centered on refugeehood, this article seeks to examine how Lee uses clothing as a catalyst for exploring issues of identity loss, vulnerability and resilience, whilst illuminating the human dimension so often erased in mass media reports on refugeeism. The analysis will be prefaced by a discussion on the nexus between clothing, mobility and dispossession, where the concept of "clothescapes" is introduced as an analytical tool to theorize how individuals, clothes and different environments interact. [ABSTRACT FROM AUTHOR]

With the rapid advancement of new media technology, dance art is experiencing unprecedented levels of innovation and transformation. This technology offers diverse expressive avenues for dance creation, injecting fresh vitality and inspiration into the field. This paper delves into how new media technology is expanding the horizons of dance creation, and how the seamless integration and inventive application of this technology can further illuminate the exquisite brilliance of dance art. Simultaneously, it underscores the significance of preserving the authenticity and originality of dance art amidst the influx of new technological influences. By exploring the profound integration of new media and dance, this study aims to unlock the deeper potentialities of dance art and introduce a fresh perspective to the interdisciplinary examination of dance art and media dance. Ultimately, this research endeavors to pave a new avenue of innovation and practice for dance art propelled by new media technology, fostering a deeper integration between dance and new media, and presenting an array of exquisite dance works for the enjoyment of audiences. [ABSTRACT FROM AUTHOR]

• Application of AI in the field of cultural heritage preservation and mediation. • Intelligent tool for an augmented audiovisual analysis of a video art archive. • Automated analysis of the archive using concepts of the poetics of video art. • The benefits of the intelligent tool are illustrated on archive of the Vasulkas. This article focuses on the development and application of intelligent software for image and sound recognition to perform iconographic and audiographic analyses of the work of video art pioneers Steina and Woody Vasulka (the Vasulkas). The AI epistemological tool Vasulka Live Archive is designed to provide unique results that benefit from the synthesis of automatic statistical analysis across the dataset and application of predefined categories that are the results of aesthetic evaluation of the Vasulkas' videos and inspired by terminology of video art aesthetics (Weibel, Krauss). The advantages of this AI tool reveal themselves particularly when the tool is used for transmedia analysis of the whole dataset (the Vasulkas' work) as the accuracy and completeness of its results are out of reach of an individual human researcher. We argue that this kind of AI tools can contribute to more exact and data-based findings on media art aesthetics, it can contribute to establishing a new field augmented iconology (Spratt) as well as expanding the sphere of AI tools application towards digital collections of experimental and conceptual art of 20th and 21st centuries. [ABSTRACT FROM AUTHOR]