Year: 2012

Integrarte: Digital Art Using Body Interaction

Type: Paper
Year: 2012

Paper published under Computational Aesthetics in Graphics, Visualization, and Imaging Proceedings by Eurographics in 2012.

Abstract:
This paper emphasizes the participation of the whole body in the interaction process in art, which becomes essential in the development of new insights and artistic expressions. We approach the postmodernism and the post-medium condition, having in mind the remediation process between digital and analog media to rethink the possibilities of interactive art through new technologies. We focus in the body as a living medium, to introduce the INTEGRARTE

Authors:

Barbara P. Castro, L. Velho, and D. Kosminsky

Palavras chave:

Image and code – new paradigms for the arts – CIANTEC 2012 (Portuguese Only)

Type: Paper
Year: 2012

Paper published under CIANTEC 2012 Proceedings.

Abstract: The evolving digital media is changing our relationship with the world, as well as the artistic practice and experience. The use of software as a constitutive element of the artwork leads to questioning the level of programming knowledge required to the artist practice. In this paper, we will discuss the interdisciplinary relation between art and
computing by analyzing artworks and code production. Finally, we will comment on our experience at Visuality and Visualization Laboratory, with art and design students employing programming.

Authors:

KOSMISNKY, Doris; CASTRO, Barbara.

Palavras chave:

Colors of the Brazilian tourist destinations: method to produce a visualization

Type: Paper
Year: 2011

This paper presents the method used to produce a visualization over data of Brazilian tourism. Data
visualization operates at the intersection among art, design and computer science, having the exposure of
the structure behind large data sets as its main purpose. The economic relevance of the tourism sector
and the variety of tourist areas on Brazilian territory require the development of methods that show the
different nuances among these areas. Having this goal, we started producing a visualization of the major
65 Brazilian tourist destinations’ colors by the creation of an algorithm that, after the selection of photos of
each one of these places, generates a palette using its predominant colors. Thus, we hope to represent
imagery in a Brazilian diversity in its varied climates and cultural events, leading to a new understanding,
from the perspective of visual culture, of the huge regional variety that exists in this continental-sized
country.

Authors:

Luiza Bielinski, Doris Kosminsky, Claudio Esperança

Palavras chave:

The innocent eye is blind. Constructing the modern visual culture

Type: PhD Thesis
Year: 2008

Kosminksky, Doris; Cipiniuk, Alberto; Villas Boas, Glaucia. The innocent eye is blind. Constructing the modern visual culture. Rio de Janeiro, 2008. 306p. Ph.D Thesis – Departamento de Artes, Pontifícia Universidade Católica do Rio de Janeiro.

The time in which we live is instilled with an abundance of technological excess and sensorial stimuli in a symbionic construction In this period, which at times is interpreted as the peak of the modern project and of modernist culture, and at other times as a cultural stage after the post-modern culture, new technologies and their mediations are identified one by one as the decisive agents in transforming our vision of the world. Despite the technologies acting as a catalyst of certain consequences, they fail to characterize a condition accessible enough so as these transformations can be executed in any society or period. Our study suggests that the modern vision was constructed on a tripod composed of the technologies which shape space-time relations, the conventions which contributed to their understanding and naturalization, and a pedagogy which inculcates the opening to the new, so as to ensure that the resulting vision is
perpetuated. This study looks at the past, aiming to find continuous and contradictory aspects in relation to contemporary visual culture in a context where previous ways of seeing things are not simply overcome, but absorbed into the subsequent visions, in other words, in a layered construction. In such a context, we examined two moments or visions. Firstly, the cyclopic or classical vision, which was formed throughout the Renaissance, grounded on the convention of perspective and dispersed by printed engravings. Secondly, the panoramic vision, constructed as from the second half of the 19th century and based on urban transformations, the profusion of objects and images and the space-time compression generated by new technologies in transport and communication. This way of viewing the world, while creating new perspectives, also required a process of consolidation and standardization, which was carried out through the development of a pedagogy directed at industrial institutions and to the concept of progress. In this action, the Universal Expositions, which began in 1851, played an important role as a basically visual phenomenon. These exhibitions were aimed at a wide audience and also synthesized subsequently acquired experience with other technologies directed at the masses so as to gain the status of a show. From the point of view of a visual culture founded on a modern past, our research identifies the latest technologies which make distances even shorter, further accelerate our communications and allow new forms of human contact, as part of an extensive series of other transformations, which are generating a new vision. The overriding issue is in relation to the time at which we will have the precise measure of this transformation so as to use it to formulate new structural possibilities.

Summary

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Bibliographic References

Authors:

KOSMINSKY, Doris; Cipiniuk, Alberto; Villas Boas, Glaucia

Palavras chave:

Ano da publicação