Media Art Research Articles

공공미술로서 AI를 활용한 인터랙티브 미디어아트 제안

Media art attracts public attention for its newness and differentiation from existing art and media art converged with the latest technology, AI is being presented in public art. This paper proposes interactive media art using AI as public art. Powerful interactions that are more personalized, non-linear, and multidirectional should be delivered through AI. They need to make interactive media art more interesting for citizens to expect and participate in, and provide differentiated experiences through diverse communication and empathy with artworks. When establishing public art policies, a virtuous cycle structure that leads to public participation is proposed by preparing a strategy to promote the work to the public through sharing and co-creation of artworks on SNS. For citizen-centered public art, citizens' needs should be identified through AI data analysis and reflected in policies and creation. Interactive media art using AI as public art should promote citizen participation and communication and advance in the direction of developing a citizen-centered culture.

Determinants of Work Performance of Teachers in the Special Program in the Arts (SPA) in Region

This study examines the determinants of work performance among Special Program in the Arts (SPA) teachers in Region X, Philippines, specifically within the divisions of Gingoog City, Misamis Oriental, and Cagayan de Oro. Employing a sequential explanatory mixed-method approach, the research initially gathered and analyzed quantitative data from SPA specialists and coordinators across Northern Mindanao. Participants completed self-rating questionnaires assessing their work performance and the manifestation of relevant performance factors. Subsequently, qualitative data were collected through interviews and focus group discussions with selected SPA teachers and students, aimed at providing deeper insights and contextual understanding of the quantitative findings. The thematic analysis identified recurring themes and patterns, informing the study's conclusions. Results indicated that the work performance of SPA specialists was generally rated from 'moderate' to 'fair,' with Dance and Media Arts receiving the highest ratings, though still within the moderate range. Professional development emerged as the primary predictor of work performance across most specializations. The study underscores the necessity of targeted professional development programs and recommends enhancements in administrative support, resource allocation, and policy advocacy to improve SPA implementation. These findings have significant implications for educational policy and practice in arts education.

Didactic experiences in the public realm: AI, interactivity, and playfulness for empowering eco-change

ABSTRACT Artificial Intelligence (AI) rapidly adapts to diverse audience engagement modes in Digital Arts, either interactive or non-interactive forms. These engagements create potential alliances for intelligent eco-didactic environments in the public realm. Studies show that interactivity positively affects the learning experience; hence, the coalition between AI and Digital Art has the potential to result in enhanced eco-art experiences. This collaboration could augment the eco-message and lead to behavior shift. This paper explores the interactive engagement modes in different art mediums to identify their eco-didactic potential. The study adopts a mixed methods approach, engaging with causal-comparative qualitative content analysis research. We collected secondary data from various mediums to define the characteristics of the engagement modes in eco-art, digital art, and AI artworks. Finally, we interviewed mixed-media artists to explore the technologies used in these art mediums, the different engagement modes they adopt, and eco-didactic possibilities. As a result, we found that incorporating aspects such as interactivity, coherence, aesthetics, playfulness, and meaning, can increase the impact of eco-didactic experiences. In addition, AI creates new possibilities for these experiences with its popularity and features such as real-time data utilization, personalization, and generative reciprocal dialogues which facilitate the understanding of complex environmental issues.

Art design

Abstract : The rapid development of the times, various industries have undergone earth- shaking changes in the face of development trends. The education industry is also making progress in development. Art design and new media technology can be better presented to the public, and it is also convenient for designers. This paper investigates the local art design and art design education. The new media art design and the traditional art design are compared, and the advantages and disadvantages are analyzed. Both have advantages and disadvantages, and they should learn from each other and improve the disadvantages. Conducted an investigation and analysis on art and design education, and the analysis results showed the defects of today’s art and design education, and analyzed the methods of improving art and design education through the school’s investigation and applied it to art and design education.Artists and designers are very important for local art. This paper analyzes the genealogical relationship of art designers and the composition of local art designers, taking Yunnan as an example.

Brain activation in response to art-based tasks using diverse materials based on the Expressive Therapy Continuum (ETC)

This study investigated the relationship between art creation and brain function using functional near-infrared spectroscopy (fNIRS) via a portable NIRSIT device, focusing on the frontal lobe’s oxygen saturation changes during art activities. Authorized by the Institutional Review Board of Seoul Women’s University, the research involved 26 healthy participants aged 20 to 29, without prior mental, medical, or substance use issues. They engaged in four art tasks, separated by rest periods, to monitor pre- and post-task brain activity through fNIRS scans.The research unfolded in two phases: initially, it analyzed brain activity based on the Expressive Therapies Continuum (ETC) framework, comparing different art mediums; next, it then examined differences between drawing on paper and on a digital tablet.Findings indicated unique activation patterns in various brain regions—including the Ventrolateral Prefrontal Cortex (VLPFC), Orbitofrontal Cortex (OFC), Dorsolateral Prefrontal Cortexes (DLPFC), and the parietal cortex—highlighting a notable increase in the Left Frontopolar and Orbitofrontal Cortexes during paper drawing compared to tablet drawing. These results provide insights into how different art mediums influence neural activation, particularly showing enhanced activity in regions linked to empathy and feedback in paper-based tasks. It clearly suggests that different art materials significantly influence varying brain region activation, highlighting the importance of art medium and art-making in art therapy in enhancing cognitive and emotional functions.By examining changes in frontal lobe oxygen saturation via diverse art activities grounded in the ETC framework, this study contributes to understanding art therapy’s neurological impact on cognitive and emotional functions. It offers evidence-based guidance for art therapists on selecting materials that meet therapeutic objectives. The study’s limitations include a small sample size that may affect the generalizability of the findings and the exclusive use of NIRSIT focusing on the frontal cortex, potentially neglecting the involvement of other brain regions like the temporal and parietal cortexes in art activities. Future research should therefore consider expanding the sample size and employing comprehensive neuroimaging techniques.

Research on The Innovative Development of Digital Media Art in The Era of Artificial Intelligence

From desktop design to virtual imaging, digital media art has jumped beyond the "screen" and undergone tremendous changes in the past few decades. Its application fields have also shifted from the initial graphic design and film and television special effects to display design, military, geography and other fields. Digital media art brings novel audio-visual experiences and provides convenience in life. Human activities are closely connected with digital media. Digital media art relies on digital media technology to artistically display creativity, which has a profound impact and is crucial to the development and growth of cultural and creative industries. In order to explore the characteristics and future development of digital media art, this article uses interdisciplinary research methods, comparative research methods, literature research methods, etc. to understand the relationship between digital media technology and artificial intelligence, from the perspectives of technology, communication, and art Let’s observe the current performance of digital media art as it becomes more and more intelligent, find out the problems and solutions hidden under the wave of intelligence, and explore the innovative development strategies of digital media art.

A Collective Cycling Body Of Sound

Conny Zenk (Center Research Focus, PhD candidate PhD in Art), Bianca Ludewig (researcher and journalist) and Magdalena Scheicher (researcher) are interested in taking not only unusual paths but also using vehicles in different ways. In their contribution "A Collective Cycling Body Of Sound", they reflect on the bicycle as a medium for art and sound and present activist strategies of collective cycling to open up queer-feminist, solidarity-based perspectives on the city. In doing so, they explore the possibilities of public space as a sound space and discuss insights from Zenk’s activist practice. Inviting Ludewig and Scheicher for interviews, Zenk discusses bikefeminism and counterpublics, and approaches soundrides as a form of empowerment.

Analysis of visual communication elements in variable font design from the perspective of digital technology

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.

THE PIANO PHENOMENON IN KARMELLA TSEPKOLENKO’S CREATIVITY: FROM CONTENT TO RECORD

The study is focused on the main works of the piano creativity by Carmella Tsepkolenko. This concerns her Concerto-drama No. 1 and Concerto-drama No. 2 for piano and orchestra, which are seen as one megastructure that is open to further continuation. The compositional techniques used in them are described. It has been found that the presentation of musical material by means of modern notation gives the performer the opportunity to more clearly define his own attitude to the work and opens wide prospects for a unique interpretation. The role of the piano in Carmella Tsepkolenko's work is emphasized as a leading tool for searching for new means of self-expression and communication with the listener. It has been established that the rejection in avant-garde music of traditionally established principles of notation and changes in the organization of sound material, as well as its presentation on paper, took place under the influence of deep crisis phenomena of the 20th century and changes in society's consciousness. Emphasis is placed on the inevitability of establishing empathic connections between the author and the performer, taking into account the specifics of the presentation of the musical material. It was established that Carmella Tsepkolenko's individual compositional style is characterized by the use of not only traditional means of notation, but also the wide use of such types of modern compositional techniques as atonality, aleatorics, pointillism, sonoristics. The main feature of the composer's individual compositional style is characterized — the presence of obligatory scenario development of each work. The general orientation of Carmella Tsepkolenko's work towards theatricality in music of all genres is emphasized. It is proven that in order to create a convincing artistic image, the author sometimes turns to the artistic medium so-called Performance, which requires certain acting skills from the performer. The expediency of using a performing gesture as a special artistic tool that enhances the emotional impact on the listener is substantiated. Emphasis is placed on the need for performers to familiarize themselves with the basics of modern musical notation in educational institutions.

PLASTIC IN ARTISTIC FORMS: INTERPRETATION OF ARTWORKS RELATED TO PLASTIC CRISIS THROUGH STUDIO-BASED RESEARCH

Plastic is almost everywhere; in fact, it is hard to imagine life without plastic. However, although plastic is convenient to people, its difficulty in degrading as a petrochemical product, its production, consumption and random disposal has also put enormous strain on the environment in which humans live, resulting in a plastic crisis. This study analyses 20 artworks related to the plastic crisis and finds that most artistic production and focuses on marine plastic pollution. In particular, this study examines how artistic practice has brought attention to the plastic catastrophe and uses a studio method to highlight the plastic crisis in the mountains by using plastic bags as a material to demonstrate how widespread plastic pollution is. It presents the phenomenon of mountain plastic pollution and promotes a dialogue about mountain plastic waste pollution. Art can make the plastic crisis more visible and impart a more visceral, emotional message that encourages people to understand and reconsider it. Additionally, artistic practice helps people intuitively understand the plastic crisis and the viability of plastic as an artistic medium for expressing environmental concerns.

Strategies of Displacement in Artists’ Periodicals from the 1970s: <i>Neon de Suro</i>, <i>Schmuck</i>, <i>Commonpress</i>, and <i>La Città di Riga</i>

During the 1960s and 1970s, artists’ periodicals flourished as a new artistic medium. Strikingly, artists behind these alternative publications often claimed a peripheral position, assuming a geographical anchorage far from the capitals and main artistic centres. This paper addresses how the notion of periphery manifests itself in four European artists’ periodicals published during the 1970s. It will focus on their distribution strategies, their ideological positioning, the works they disseminated, and the artists’ writings and statements they featured. First, the analysis of three European alternative periodicals — Neon de Suro (Spain, 1975–82), Schmuck Magazine (England, 1972–76), and Commonpress (Poland, 1977–91) — will highlight how a peripheral position far from the capitals and the main artistic poles could become a strength, even a real editorial strategy. Such preoccupations were not, however, reserved for artists outside the official art scene: the question of periphery also found its place, albeit in different ways, in more institutionalized periodicals. This will be evident in the case of the Italian periodical La Città di Riga (1976–77), the focus of the second part of this paper, which negotiated the idea of centre and periphery right from its name. Through the case studies of these four periodicals and the analysis of coeval theoretical contributions, this paper aims to shape an elastic notion of the relationship between centre and periphery, at the same time derived from and applicable to the experimental editorial strategies of artists’ periodicals from the 1970s.

Conservation Measures for Media Art According to Technological Changes: Color Reproducibility Comparison for Conservation of Artwork Using Video Display

Artworks using display devices require conservation treatment due to aging or discontinuation of media. However, irreversible conservation treatment methods such as modification and change of existing media may be included, which may infringe on the right to secure the originality and maintain the identity of the work. Accordingly, a comparative study on the theoretical background and color reproduction elements was conducted to provide basic data for mid to long-term conservation to confirm the possibility of replacing works using discontinued CRT with LCD. Video art is a modern art form that uses video technology as an artistic expression medium and has technology dependence. Therefore, as the conversion of the used medium is appropriate, the materials added in the conservation process are seen as part of securing the originality in terms of ‘material conservation’. An experiment was conducted to compare the color characteristics of CRT and LCD. As a result of the experiment, it was confirmed that the luminance and chromaticity stability of LCD was relatively excellent through the measurement results of spectral distribution, chromatic change difference, background dependence, and time stability, confirming the possibility of alternative application.

The Concept of Aspectism in the Traditional Arts of the Bamileke People of Western Cameroon: Myth or Reality?

Aspectism is an aesthetic approach that underscores the significance of visual appearance in artistic works, highlighting elements such as shape, color, texture, and other visual components as crucial for appreciating and interpreting art. This artistic style prioritizes the visual and formal aspects of artworks as channels for communication and creative expression. The Bamileke art object, encompassing both physical and spiritual dimensions, aligns with the principles of aspectism. Notably, many objects from this cultural milieu are featured in Western museums due to their striking physical beauty. This observation prompts questions regarding the applicability of aspectism to Bamileke art and whether it represents a myth or a reality. This inquiry delves into the intrinsic nature of Bamileke arts and the broader grassfields region. To address these concerns, the study unfolds in three key stages: introducing the concept of aspectism, delineating its artistic characteristics, and examining its manifestation across various artistic mediums within the Bamileke community. Additionally, the study explores the philosophical underpinnings of beauty within this population. The study concludes that the Bamileke art object embodies two distinct entities: the physical, or apparent aspect, and the symbolic or functional aspect. While aspectism emphasizes the apparent aspect, the argument can be made that the notion of aspectism within Bamileke arts leans more towards being a myth than a reality.

The Digital Media Art and Design System under the Integration of Computer Big Data ChatGPT Technology

Traditional digital media art and design systems take a long time to run and cannot handle a large number of objects simultaneously. Therefore, the author proposes a digital media art and design method based on ChatGPT technology. ChatGPT technology is an important part of networking.Prepare to provide conference support for various applications such as customer service, personal assistant, robotic interview, and so on. ChatGPT can not only answer the question that is set, but also solve the question openly.The comprehensiveness and intelligence of ChatGPT have attracted widespread attention since its launch. The hardware system adopts dual core TMS320C6657 and DDR3Thel1333 series processors as the core circuit, together with high speed external storage, to expand the image transmission line of multi-data; System software uses module architecture to design image modules, video modules, and voice modules, all of which are integrated into the core of the system as modules. In this experiment, 10 images were transferred and the running time was tested. Experimental results showed that, the traditional digital media art and design system had three errors, which took more time to run.

Computer Simulation and Innovation of Virtual Reality Technology in Film and Television Animation Scene Construction

One of the artistic mediums of film and television is works of art. They represent a company's and a nation's cultural legacy in the modern period. They have long been the spirits that guide civilization towards affluence and advancement. The advancement of computer technology has led to extraordinary advancements in cinema and television technology, particularly in the field of special effects. When compared to more established real-world film and television technologies, virtual reality (VR) technology offers filmmakers and producers more creative freedom. This research propose novel technique in computer aided system in VR technology in film and television animation scene modelling based on artificial intelligence (AI). Here the virtual reality in film and animation scene has been constructed using machine learning. The 3D graphic design in animation scene modelling is carried out using convolutional generative fuzzy encoder face deformable model. Experimental analysis is carried out based on various animation scene construction dataset in terms of accuracy, precision, RMSE, robustness, F-1 score. This article designs a colour rendering system for 3D animation that is primarily separated into several modules based on various functionalities.

HOW NON-CURRICULAR ARTS ARE USED TO STRENGTHEN THE SOCIAL STATUS OF ENGINEERS

The paper discusses the concept of using non-curricular arts to strengthen the social status of engineers by expanding skillset and perception, building bridges, and connections. While there's no definitive answer of how non-curricular arts are used to strengthen the social status of engineers, the study presents some artistic ways of engagement that can impact engineers' social standing by demonstrating creativity and innovation, communication and storytelling, collaboration, and empathy. The study shows that the impact of non-curricular arts on engineers' social status depends on individual engagement, societal context, and how the artistic pursuit is perceived. While not a guaranteed formula, actively engaging in diverse artistic mediums can certainly contribute to a more well-rounded, respected, and connected image of engineers within society. Finally, the paper presents a comprehensive overview of how non-curricular arts can potentially influence the social status of engineers.

“We are all just humans participating”: the role of an embodied approach, virtual space and artistic media in shaping participants’ experience in a co–design process

ABSTRACT Integrating multiple perspectives is key to successful co-design, yet often hampered by communication gaps arising from different epistemological backgrounds and lived experiences. This challenge is amplified when the design problem centres around experiences that are difficult articulate in words, such as those in Parkinson’s disease (PD). To explore alternative strategies for communication between diverse PD stakeholders, Piece of Mind brought together neuroscientists, performing artists and individuals with lived experience to co-create an interdisciplinary performance grounded in scientific and experiential knowledge. Participants met on Zoom over nine months, in which creative, embodied approaches were used to share scientific concepts, facilitate discussion, and identify key issues for the performance. We built on emergent themes through virtual and in-studio collaborations, culminating in a 45-min filmed and live performance. We conducted semi-structured interviews with a subset of participants regarding their co-design experience and take-aways, to identify elements of process, space and materials contributing to its success. We found that an embodied approach, in virtual space and incorporating multiple artistic media, enabled participants to leave their comfort zones and disciplinary boundaries to engage with one another through curiosity and generosity – and consider how these conditions facilitated disparate starting points to converge towards a common goal.

The impact of the development of holographic imaging technology on digital media art design

The impact of the development of holographic imaging technology on digital media art design

Technology as Resistance: Pioneers of Korean Media Art from the 1960s to the 1990s

Abstract 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.

Forgotten Pioneers of Media Art: Laboratory of Presentation Techniques

Abstract 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.