Electronic Arts Research Articles

The Reuse of Technology in Electronic Art as an Expression of Social Conditions

The purpose of this research is to show part of the Mexican electronic art scenario, which in many cases is produce with limited resources, low-cost materials and free and open source data and software. What characterized the most this artistic works is the concept and the main idea, which is related to the Latin American context, because of that, these works of art are unique. The main statement of this research is to find evidence of the importance of the concept despite the materials, more than the spectacle that some works could offer to an audience with unlimited resources. Through this, an analysis of Electronic Art as an expression of social conditions take place.

The Shortest Distance Between Gamelan and Electronics: Creating a “nexus of understanding” at Martin Bartlett’s Summer Intensives (Vancouver, 1986–1992)

During Expo 86, composer Martin Bartlett showcased his commitment to having Javanese music settle in Vancouver. By organizing a month-length workshop on Indonesian performing arts, he secured the Indonesian Embassy’s gift of a full Javanese gamelan to Simon Fraser University. The success of this first workshop encouraged Bartlett to repeat the experience for several years. In the summer of 1988, the event took an unexpected turn by concurrently featuring gamelan and electronic music workshops side by side. Dubbed “Dance and Music of Two Worlds,” it provided a unique place of encounter in which Javanese music traditions coexisted with electronic arts. Although the two hardly intermingled, the 1980s and 1990s saw many interdisciplinary productions mixing gamelan and electronics emerge from participating students. At the time, this relatively unexplored encounter between sound worlds put a stamp on the regional identity of the Vancouver gamelan scene, one still echoing today.

Por uma poética cartesiana: gráficos 3D nas criações digitais de André Vallias

Resumo O laureado artista visual e poeta André Vallias, internacionalmente conhecido por suas criações na esfera da literatura eletrônica e das artes digitais, frequentemente lança mão das potencialidades do ciberespaço para a constituição multissemiótica de suas obras. Além de elementos mais comuns no campo dos diálogos interartes, tais como imagens, cores, volumes, movimento e sons, Vallias costuma empregar em suas criações um tipo de signo insólito em obras artísticas: gráficos matemáticos 3D. Trata-se de representações visuais tridimensionais (mas expressas em superfícies bidimensionais, como telas de computador e celular) de funções algébricas construídas com o software AutoCad - geralmente utilizado em projetos de áreas como a Engenharia e a Arquitetura -, às quais Vallias agrega valor artístico por meio da combinação com elementos mais tradicionais do gênero lírico, como a versificação e o ritmo. Em suas obras, tais gráficos desencadeiam um ou mais efeitos estéticos, como a representação icônica de formas geométricas do mundo referencial, a desconstrução de redutoras antinomias como subjetividade/objetividade (e, por conseguinte, pensamento poético/pensamento matemático), ou a alusão simbólica a elementos intangíveis de textos líricos, sobretudo fenômenos dos estratos fonológico e visual. Nesse contexto, o presente artigo analisa três obras de André Vallias - Nous n’avons pas compris Descartes (1997), De verso (s.d.) e Oratorio (2004) - a fim de mapear o rendimento estético do uso de gráficos matemáticos 3D como recursos artísticos que desnaturalizam nossa percepção acerca do literário e seu atravessamento por sistemas semióticos inusitados.

Electronic memory: Creation and storage of electronic works

Abstract With the development of science and technology, more and more electronic art works are presented in contemporary art. Artists use a variety of technological equipment and media to create. The creation of electronic art works gradually changes from the medium to the main body of creation. Artists use more than technology to create To achieve the purpose of creation, it is to integrate creation and technology, and to deeply explore and explore the inherent logic and cultural spirit of scientific and technological works of art. Therefore, such works have become an independent existence in the history of art. The preservation and continuation of works has become a major problem for such works. Faced with the continuous updating of technology, artists must understand the media language they use to iterate and save their works. At the same time, the preservation of works also requires more professional talents. Participate in capital and technology. In this way, electronic art works are not only short-lived in the long history of art, not just works experienced in documents and videos.

Flexible Ultralow-Power Sensor Interfaces for E-Skin

Thin-film electronics has hugely benefitted from low-cost processes, large-area processability, and multifunctionality. This has not only stimulated innovation in display and sensor technology but has also demonstrated great potential for the integration of components for human–machine interfaces. For electronics to be deployed as sensor interfaces and signal processing, the quest for low power is compelling due to the inherently limited battery lifetime. This review will present the state of the art in thin-film electronics and demonstrate examples of low-cost printable transistors and biosensors that are flexible/stretchable for wearable and other applications. Ultralow-power design for thin-film transistors will be discussed from the standpoint of reducing both operating voltage and operating current, taking into account the challenges in meeting frequency requirements. Compact models for circuit design will be reviewed along with new insights into ultralow-power transistors and high-gain amplifier circuits. Finally, a concept for an integrated system comprising sensors and interfacing circuits will be demonstrated, which has the potential to enable batteryless operation.

Electronic Arts: Strategic Differentiation in the Global Video Gaming Industry

Electronic Arts Incorporated (EA) is a leading global developer of video game software with FY2018 revenues in excess of $5B. And although the organization has demonstrated innovative leadership in the industry for many years and has an established portfolio of “hit” game titles, industry trends have created an increasingly competitive environment. Digital game distribution, for example, has dramatically reduced the cost of product delivery, but has also negated a previous barrier to entry for new competitors. In a $36B industry that has been completely reshaped by digital content and distribution, EA seeks to better engage and retain players via digital capabilities. This case study analyzes EA’s differentiated competitive strategy founded on three pillars: Player-First, Commitment to Digital, and One EA. Each of these strategic focuses has a direct connection to trends in the transforming video game industry, as the company seeks to expand its player base across platforms, geographies, and business models. Together, these highlight the path for the company to operate more efficiently, create more engaging products and services, and develop increased customer loyalty towards EA games.

Non-human labyrinths: Roots and additional other than human formation methods

Abstract Within the context of exploring new electronic arts' aesthetic regions and unexampled connections between generative art, games and mythology, my practical artistic research was led to focus on labyrinthine structures as exquisite legendary spatial gaming devices and as possible pathways to gain deeper humane insights, resulting into discoveries of original methods of labyrinth formation by means other than human. Labyrinths and mazes are inextricable paths, human made millennial structures that provide spatial challenges often connected with feedback, compression, entanglement and hyper complexification of goal oriented displacement. They are perhaps the most ancient example of structure for spatial and serious games. Novel methods for labyrinth creation – non-human methods – are introduced and exemplified through artistic constructs. These new methods utilize non-human bioelectronic techniques and are initially grouped into three distinct sub-categories: the 'open' method, the 'mathematical flower' method, the 'animal' method. Four case examples of artistic non-human labyrinths resorting to the introduced novel methods are explored: k. video games (2007, 2010), Wolfanddotcom video game (2017), 8-bit Maze Gardens vegetable paintings (2018–present), Ant Ennae Labyrinths bio-electronic apparatus (2019–present).

Body Modification: The Case of Tattoo Copyright

This paper explores the now-dismissed case of Louisiana artist, Stephen Allen v. Electronic Arts, Inc., & Ricky Williams. This case, filed on December 31st 2012, went before the U.S. District Court for the Western District of Louisiana. No ruling was reached but the application of contradictory precedents indicates the need for clarification. Additionally, fairness requires that the 1976 Copyright Act be revised in order to allow for art that falls within a “gray” area of the artistic world. This paper argues that the 1989 Supreme Court landmark case of Community for Creative Non-Violence v. Reid demonstrates in its application of the balancing test for determining the relationship between “employee” and “work made for hire” status that athletes should be forewarned of the potential for litigation when it comes to their body artwork.

Interview with Dene Grigar

Dene Grigar is Professor and Director of The Creative Media & Digital Culture Program at Washington State University Vancouver whose research focuses on the creation, curation, preservation, and criticism of Electronic Literature, specifically building multimedial environments and experiences for live performance, installations, and curated spaces; desktop computers; and mobile media devices. She has authored 14 media works such as "Curlew" (2014), "A Villager's Tale" (2011), the "24-Hour Micro E-Lit Project" (2009), "When Ghosts Will Die" (2008), and "Fallow Field: A Story in Two Parts" (2005), as well as 56 scholarly articles and three books. She also curates exhibits of electronic literature and media art, mounting shows at the British Computer Society and the Library of Congress and for the Symposium on Electronic Art (ISEA) and the Modern Language Association (MLA), among other venues. With Stuart Moulthrop (U of Wisconsin Milwaukee) she developed the methodology for documenting born digital media, a project that culminated in an open-source, multimedia book, entitled "Pathfinders" (2015), and book of media art criticism, entitled "Traversals" (2017), for The MIT Press. She is President of the Electronic Literature Organization, Associate Editor of "Leonardo Reviews," and "Literary Studies in the Digital Age (LSDA)," and a series editor for "Electronic Literature," with Bloomsbury Press. In 2017 she was awarded the Lewis E. and Stella G. Buchanan Distinguished Professorship by her university. She also directs the Electronic Literature Lab at WSUV. In her spare time she runs, collects wine, does yoga, and misses the Gulf Coast.

Antonick v. Electronic Arts: Expert Witnesses ad Software Copyright Infringement

Antonick v. Electronic Arts: Expert Witnesses ad Software Copyright Infringement

The Art of Electronics

The samples used in this article are from electronic circuits used in industry and heavy engineering. They consist of various capacitors, diodes, resistors and the micro circuits they are joined to. Sizes vary from 25mm diameter down to 2mm.

“A vida é um jogo”: o jogo discursivo no gênero videogame

Investigamos, neste artigo, o videogame como produção discursiva mediada pelo uso que a linguagem assume nas diversas esferas por onde circula o sujeito linguageiro. Portanto, centralizamos nosso percurso nas teorias do círculo bakhtiniano e seu conceito de gêneros discursivos (BAKHTIN, 2011), em confluência com teorias de letramento(s) advindas da Linguística Aplicada. Tomamos o jogo The Sims 4, da Electronic Arts, como objeto de investigação e, partindo da análise de concepções acerca do videogame, delimitamos traços indispensáveis a qualquer gênero discursivo, assim, abrindo espaço para futuros estudos nessa direção.

Yvonne Spielmann, Contemporary Indonesian Art. Artists, Art Spaces, and Collectors

The author, Professor Yvonne Spielmann, has over thirty years of experience in research, teaching and knowledge transfer in the Higher Education at international level across Europe, the US, and Southeast Asia. She has established interdisciplinary approaches in media and culture, technology, art, and communication, instigating research networks with partners in South-East Asia. Until she researched Indonesian Contemporary Art, she specialized on the study of video and electronic media art. T...

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Cybernetic serendipity - did '60s art shape technology's future?

IN 1968, the Institute of Contemporary Arts (ICA) in London held a trailblazing exhibition of electronic and algorithmic art called ‘Cybernetic Serendipity: The Computer and the Arts’ that went on to wow audiences in Washington and San Francisco.

GAMBLING VS. GAMING: A COMMENTARY ON THE ROLE OF REGULATORY, INDUSTRY, AND COMMUNITY STAKEHOLDERS IN THE LOOT BOX DEBATE

The discussion on loot boxes has tempered somewhat from the height of the fever pitch that followed the release of Electronic Arts’ (EA) Star Wars Battlefront 2, but the fallout is far from over. The fervor erupted over the use of loot boxes – an in-game “box” that contains an unknown selection of virtual items – in video games. A fundamental question rising from the debate asks: are loot boxes gambling? Many stakeholders have voiced their opinion on the issue, and legislators, gambling regulators, and their governments are weighing in with assessments and formal decisions. Chiefly among these calls have been demands to legally classify loot boxes as gambling and regulate them as such. The world of gambling, particularly gambling regulation, has found itself in the gaming spotlight. The convergence of gambling and gaming has been a topic of discussion for several years now, as video games have included gambling mechanics in game and gambling games have incorporated more gaming mechanics. This paper discusses the definition of gambling in different settings and the role of gambling regulation as it may apply to loot boxes.