Position Papers

Technology, Aesthetics, and the multi- disciplinary design process in research creation methodologies
Omar Al Faleh — Topological Media Lab, Concordia University

This position paper discusses the role of technology and technical decisions in the creative process of multi- disciplinary digital art making. Design consideration and aesthetical decisions are studied, analyzed, and approached from a research creation point of view.

A Review of Interactive Landscapes: An Artistic Approach to HCI

Youngsuk L. Altieri — Indiana University

This paper will explore the concept of main ideas between ‘Aestheticizing technology through digital art creation and the integration’ of ‘technical and creative skill sets in HCI and design research’. Examples of current works of digital arts, with applications in HCI design research, will be reviewed. These works, in particular, emphasize embodied computational ideas and aesthetic elements of HCI design to create a richer environment for users.

Collaborative creativity and New Media Arts

Ilze Black — Media and Arts Technologies, Queen Mary University London
Graham White
 — Electronic Engineering and Computer Science
, Queen Mary University London

Through reflections on personal practice and research, both in the fields of New Media Art and of communities of practice, this paper considers the relationship between technological innovations and Digital Art practice as well as assessing relevant methods and approaches current in New Media Art and their possible applications in CHI.

The Theatre of the Twenty-first Century May Well be Virtual and Online

Pierre Boulanger — Department of Computing Science, University of Alberta, Canada
Qiong Wu — Department of Computing Science, University of Alberta, Canada
Maryia Kazakevich — Department of Computing Science, U of Alberta, Canada

The idea of combining virtual reality technology and theatrical tradition to create virtual plays has captured artists’ imaginations for some time. Using conventional technology, the use of virtual characters in a theatrical performance often integrates the predefined animations of virtual actors into the theater scene, resulting in a performance that can feel stilted and unresponsive due to its preprogrammed nature. Recently new systems allow actors to animate virtual characters in real time, resulting in a more flexible and interactive theatrical performance experience. Actors are sequestered at a remote site, invisible to the audience, and are digitized by a motion capture system. Using camera feeds to provide the remote actors with information about the behavior of the live actors and audience in the theater, the remote actors can adapt their virtual counterparts’ behavior to react to live events in real-time, giving the illusion to the audience that the virtual characters are responsive to their actions. In this paper, we will present various concepts of virtual theater and an example of a virtual theatrical performance called Trickster at the Intersection that was presented during Smart Graphics 2010 at Canada’s Banff Centre.

Crafting Collaboratively in Cross-sectoral Art Practice

Jo Briggs, Northumbria University, UK
Mark Blythe, Northumbria University, UK

This short paper draws from and compares two projects involving the authors in which digital and analogue reproduction technologies were used in collaborations with artists. In the first, artists were recruited to participate in iPad painting workshops and try out populist painting apps. The second project involved the earliest print technology, the woodcut. Coloured inks, rollers and wooden spoons were utilised by the first author in her role as “master printer”, “pulling” limited edition prints—by hand—from blocks of incised wood in commercial fine art production.

Can HCI Profit from an Artistic Mindset?

Licia Calvi — Academy for Digital Entertainment NHTV University of Breda, Netherlands

In this paper, we discuss the possibility of developing an artistic mindset for HCI. The possible interplay between interactive art and HCI is seen as beneficial for the future developments for both domains, deepening our understanding of them, expanding their vocabularies and boundaries, and broadening their practices.

Augmenting traditional instruments with a motion capture system

Amalia de Götzen — Aalborg University Copenhagen
Alvise Vidolin — University of Padova
Nicola Bernardini — Conservatorio di Padova

This paper describes some composition works where the real instruments have been augmented through a motion capture system (Phasespace). While playing his instrument in the traditional way, the player is also controlling some other sound effects by moving his hands: the instrument becomes totally new enlarging the expressive possibilities of the instrument opening new ways of thinking the composition to the author . The player gestures become an essential part of the score itself and the composer has to face the
necessity to compose the gesture while composing the music. In this paper we will address two different musical approaches: an improvisation by Roberto Fabbriciani and a composition by Claudio Ambrosini.

Emerging Modes of Creative Practice: Collaborating with Creative Evolutionary Systems

Steve DiPaola Cognitive Science/SIAT, Simon Fraser University
Sara Salevati School of Interactive Arts & Tech, Simon Fraser University
Ron Wakkary School of Interactive Arts & Tech, Simon Fraser University

The goal of this research intends to investigate the various ways using Artificial Intelligence generative tools specifically Creative Evolutionary Systems can be integrated in creative practice and act collaboratively with artists and designers, where the cognitive based creative ideas can move between tool and artists/designer freely. We will provide insight into how creative practice can be translated within this new domain and move towards a more advanced space, with Creative Evolutionary Systems not only enhancing creativity but also encourage new collaborative practice.

Position Statement

Julie Freeman – Queen Mary University of London

This position paper is a personal reflection on how I engage with technology in different ways during the creation of digital artwork, and how collaborative development of technology for artistic purposes has led to innovation. How the combination of design and material can influence aesthetic, both intentionally and accidentally, is demonstrated through project examples. I propose that, alongside software and hardware,
where data is used as a material in artwork that it too needs to be thoroughly understood if it is to deliver the intention of the artist. To this end, a brief overview of my current research aims to develop data-driven kinetic digital artworks, which demand a broad range of skill and innovation, is included.

Integrating Technology in Creative Practice using ‘Materialise’

Connie Golsteijn – Digital World Research Centre University of Surrey
Elise van den Hoven — University of Technology Sydney
David Frohlich — Digital World Research Centre University of Surrey
Abigail Sellen – Microsoft Research UK

In this position paper we discuss ‘Materialise’ – a building set consisting of physical building blocks and digital media input that allows for the building of hybrid creations – as an example of a design that integrates technology in creative practice. We show it does so by facilitating interactive craft practice, aestheticizing technology, and allowing for the customization of technology. Through an easy-to-use integration of technology and creative practice the set can benefit digital artists, as well as allow ‘everyday people’ to become digital artists. As such, we argue, it opens up a promising future direction for design, in which focus lies on the integration of technology and creative practice, or design for interactive or hybrid craft.

Beautifully Broken: Datamoshing and the Aesthetics of Computation

Shad Gross — Indiana University, Bloomington, USA
Austin Toombs – Indiana University, Bloomington, USA

We look at datamoshing as a specific type of glitch art. Datamoshing is a video appropriation technique that involves altering the compression of a digital video for creative purposes. This is exemplary of the ways unique material properties can have expressive capabilities, which motivated our use of a medium-specificity lens. This points to the value of a medium-specific approach as well as aspects of digital expression that are inherent to the medium.

Artist-engineers and their (often critical) practice

Lone Koefoed Hansen Aarhus University

Almost a personal account of digital artworks that currently fascinates me, this position paper accounts for ways in which some contemporary artworks and artist manifestos engage with (interactive) technologies and the artistic process. Often taking a critical or highly investigative approach, the artworks or -projects presented in this paper all engage with technology in a highly skilled way, clearly also using the process of creating the artwork as the artwork itself. While not offering a hypothesis as such, the position paper highlights how these artists and artworks express ideas about how the artist can or should engage (successfully) with exploring the (often critical) potentials of technology.

Position Paper

Steve Jones — De Montfort University, UK

Creativity is not only an individual psychological process, but shaped by everyday activities and learning situations. This position paper comes from my personal experience as a musical improvisor and performer.

Stubborn Materialities / Unruly Aesthetics

Kalja Kanellopoulos – crossWorlds – Faculty of Philosphy Chemnitz U of Technology
Michael Heidt — crossWorlds – Faculty of Informatics Chemnitz U of Technology

Digital and interactive art has reconfigured the relationship between art and technology as well as restructured the discourse within the artistic field itself. Inextricably tied to a reflection on its medium digital art must highlight the power-effects it necessarily has to (re)produce and repeat. It does so in virtue of negative aestheticisation of its interfaces, by creating noise, frustration, perplexity. Springing from an interdisciplinary background – informed by social sciences, informatics, rhetoric, literary studies and philosophy – we provide a discussion aware of specificity and historicity of its theoretical constituents. In doing so, we hope to contribute to a tentative genealogy of digital art as an expressive practice. Lastly the text itself is product of dynamic friction between positions of observation and engagement, reflexive and poietic practices. It wants to be read as a conceptual experiment.

Designing a ‘Techno-Quilt’

Rachel Keller — LICA Building, Lancaster, United Kingdom

The making of a ‘techno-quilt’ is used to start examining how digitisation may change the relationship between artefacts, technology and people and the implications for digital art, engaging new demographics and sustainability. The research followed two groups of quilters, identifying the impact of digital technology on their practice and which then informs the design and making of a ‘techno-quilt’. This is a standard textile quilt augmented with digital technology so that users can both interact to unearth the hidden aspects of the quilt, and, contribute their own ideas.

Crafting Interaction – Learning from the Digital Arts Craftsmanship

Rikard Lindell — Mälardalen University, Sweden

Bridging interaction design and engineering is problematic because design and engineering have different epistemology. With the advent of ubiquitous digital devises the design space has increased which has made it more difficult to rely on sketches of known interaction idioms to convey the design’s experiential qualities to stakeholders and engineers. The digital arts rely on programming and appropriation to craft technology that explores artistic problems and to be used in exhibitions and performances. To this end, the digital arts have succeeded in both creating and making, where the community of interaction design and software engineering struggle. With starting point in code as a design material, how can the digital arts facilitate and artisanal approach to the creation of highly interactive digital artefacts with rich experience qualities?

Non-Diegetic music for films

Joe Lyske — Queen Mary U of London

The purpose of this study is to devise a method of producing reliable non-diegetic music for films; that is music which sits out-side of the diegesis, or story. This will offer a tool to film composers which is based on emotional requirements and can aid them in the scoring process.

Authorship in Art/Science Collaboration is Tricky

Lindsay MacDonald – Interactions Lab – University of Calgary, Canada
David Ledo – Interactions Lab – University of Calgary, Canada
Miguel A. Nacenta – University of St Andrews, Scotland, UK
John Brosz – Interactions Lab – University of Calgary, Canada
Sheelagh Carpendale – Interactions Lab – University of Calgary, Canada

As an interdisciplinary team that creates interactive art installations, we discuss the concepts of authorship in context of the creation of two interactive art installations. In our experience, the continually evolving question of authorship raises questions about joint authorship, or how the people who have created the piece declare authorship; as well as shared authorship, or how the viewers who interact with the piece can affect change and therefore be thought of as having authorship.

Subcultures to Interventionalist Design Strategies

Vicki Moulder Interaction Design Research Lab Simon Fraser University
Ron Wakkary Interaction Design Research Lab Simon Fraser University
Carman Neustaedter School of Interactive Arts & Technology, Simon Fraser University

In this paper we introduce our position, goals and interests in participating in the Crafting Interactive Systems: Learning from Digital Art Practice Workshop, CHI 2013. On a number of occasions our research team has coproduced and analyzed digital artworks created by professional and non-professional artists. Sometimes it is the case, that these artworks represent new ways of thinking about a subject; and often they present alternate methods for unraveling the complex design challenges of social engagement. For this reason we intend to discuss how the synthesis of art, design and technology can provide a fertile ground for perceiving artists’ roles in a collaborative work environment, as well as, provide opportunities for the use of interventionalist design strategies, in general.

The EM Field as a Sensor System

Eleonora Oreggia — Media and Arts Technology Queen Mary University of London

The presence of the electromagnetic field is ubiquitous and pervasive, yet elusive and not fully explored in its artistic potential, eventually because of its invisible nature. Whereas some forms of ‘wave’ or ‘radio’ art have been emerging over the last century, a certain materialism of media art uses waves directly, not just as a carrier of information. This paper, imagining novel possibilities to integrate the electromagnetic field in
the design of an interactive piece, reflects on the process of crafting a sensing system and proposes a methodological approach to engineering new media and contemporary art.

Devotion Gallery: A Case Study in HCI and Digital Arts Practice

Margaret Schedel — Stony Brook University, NY
Phoenix Perry — Devotion Gallery, Brooklyn, NY
Brian Jackson – Devotion Gallery, Brooklyn, NY

In its five years of operation Devotion Gallery has showcased works at the intersection of art, science, new media, and design. Many of these works involve new methods of human-computer interaction in tandem with creative expression and aesthetic motivation.

Crafting the Aesthetic Event

Jocelyn Spence — Digital World Research Centre, University of Surrey
David M. Frohlich — Digital World Research Centre, University of Surrey
Stuart Andrews — Digital World Research Centre, University of Surrey

Drawing on our experiences in designing a Web-based application for creating digitally augmented performances, we interrogate the assumptions behind the crafting of ‘a finished aesthetic product’. In the case of performance, the idea of craft leads us to identify the technology itself as a facilitator and perhaps even crafter of aesthetic events.