Interactive Digital Art Research Articles

Exploring the Decorative Innovation of Interactive Digital Art in Interior Design under the Guidance of Ecological Concepts

Abstract In this article, we study how interactive digital art is applied in interior design under the ecological concept, focusing on color innovation and image technology to enhance the aesthetics and functionality of interior decoration. The article studies the three elements of color design and their application in product design. The K-Means clustering method is used to classify color imagery words in interior design, and the GAN model is combined to generate interior design colors. The results show that the error qualification rate for the color design scheme coding combination serial number is 88.2%. The composition of interior image decoration systems, digitization processing, and image fusion technology are also a part of this. A method for analyzing the impact of indoor digital decoration based on the ecological concept was proposed after studying the application range of interior decorative colors using cluster analysis. A questionnaire survey was conducted to analyze the perceptual imagery of interior decoration design. Interactive digital art can effectively enhance the aesthetics and functionality of interior design while reaffirming the ecological concept.

A bibliometric analysis of immersive technology in museum exhibitions: exploring user experience

Introduction:This study aims to comprehensively understand the existing literature on immersive technology in museum exhibitions, focusing on virtual reality (VR), augmented reality (AR), and the visitor experience. The research utilizes a bibliometric approach by examining a dataset of 722 articles with two main research objectives. Firstly, it seeks to analyze current trends in immersive technology literature, specifically emphasizing VR and the user experience in museum exhibitions through co-citation analysis. Secondly, it aims to identify emerging research trends using co-word analysis.Methods:The study employs a bibliometric approach, specifically co-citation and co-word analysis, to investigate trends and forecast emerging areas in the field, particularly the role of VR in the museum context.Results:The analysis reveals the presence of five interconnected thematic clusters in the literature. These clusters include (1) VR and AR-enhanced heritage tourism, (2) VR and AR-enabled virtual museums, (3) interactive digital art education in immersive environments, (4) immersive storytelling in virtual heritage spaces, and (5) mobile AR heritage revival.Discussion:The article highlights influential works within these areas, showcasing the historical evolution of the field and the current emphasis on utilizing VR to create immersive, educational, and engaging experiences for museum visitors. The findings indicate that research on VR applications for museum exhibitions has predominantly focused on profound game-driven experiences and interactive 3D heritage, resulting in improved visitor engagement and access to cultural content. The adoption of VR technology holds the potential to revolutionize user experiences within the cultural heritage sector and reshape the overall landscape of museums and exhibitions. By presenting these research trends, this study contributes to a deeper understanding of the vital role of VR in enhancing visitor experiences in museum settings. Furthermore, it paves the way for further exploration and innovation in immersive technology.

Data analysis of digital interactive art through information technology

The primary objective of this paper is the data analysis of digital interactive art on Jordanian university students using information technology. The study also uses information technology because of the opportunities that technology provides for an interactive nature between the in-novative process, productivity, and high flexibility. The data is collected using a questionnaire, and the majority of the study population is made up of Jordanian university students. Accord-ing to the findings of this study, Digital Interactive Art has a substantial influence on Jordani-an University Students' Information Technology.

The art of eco-nudging: interactive digital art as didactic agents of change in the built environment

The art of eco-nudging: interactive digital art as didactic agents of change in the built environment

The Application of Virtual Learning Mode in the Design of Art Design Network Interaction Platform: Based on C++ Builder

:A system development platform based on C++ BUILD is introduced in detail, and how to configure OpenCV in C++Builder environment is discussed. Finally, two application examples are given on this basis. After the analysis of new media's intervention in public art design, the interactive digital public art design and practice of new media public platform is explained in detail, from the practice of interactive digital public art design and Chinese painting in interactive digital public art design The methods and methods of public art design are analyzed from the two aspects of reference and application significance. Based on the classification framework of research methods that combines hierarchical logic, process logic and the characteristics of this field, this paper analyzes the methods used in doctoral and master thesis in the field of virtual learning community research in my country with research methods.

Interactive digital art for individuals with intellectual disabilities.

Interactive digital art can be a beneficial therapeutic intervention for a variety of populations, but specifically for the population of intellectual and developmental disabilities. Interactive digital art uses the engagement of the participant to create a digital form of art. The purpose of this literature review is to explore the effects that interactive art has on individuals with intellectual and developmental disabilities. Interactive arts discussed were used in a variety of settings ranging from sand art, to using video games, or interactive art exhibits. Sand art and other digital painting methods were proven to be beneficial in improving cognitive functioning and social aspects of those with intellectual disabilities. While exploring the various settings, participant feedback was given in association with using interactive digital art.

Survey and Analysis of Interactive Art Documentation, 1979–2017

Today, documentation is becoming a major source of exposure and appreciation for artworks on the Internet, beyond the original purpose of preservation and academic archiving. This study analyzes 982 documentations of interactive digital art projects created between 1979 and 2017. Each documentation was represented as a point in a 17-dimensional vector space through binary encoding. The resulting visualization from the t-SNE algorithm shows that, compared to its phenomenological quality, most documentation of interactive art is a cinematic surrogate that follows film post-production techniques. In conclusion, this study calls for the development of documentary techniques that can provide the viewer with a quasi-authentic experience of the original work in interactive digital art.

Diyalojik Estetik Kavramının Dijital Sanatlar Bağlamında İncelenmesi

Digital Technology has dramatically changed the way human beings communicate. It has made distance communication possible and changed our world into a ‘Global Village’. Besides, it has influenced art experiences in a dramatical way. Like other forms of information, art is also able to reach wider audiences in all parts of the world, thus creating an effective cross-cultural communication. Throughout its history, art has always been the basis for a dialogue. However, it is the digital art which has introduced the dialogical principles in visual arts. The aim of this article is to analyze digital arts from a dialogical perspective. Focusing mainly on Martin Buber and Mikhail Bakhtin’s dialogic philosophy, the article aims to present how the trajectories of digital art and dialogical aesthetics intersect. The article proposes that although interactive art and dialogical art share many characteristics in common, all interactive digital art is not dialogic; therefore, the focus of this article will be on digital arts which use telecommunication media as a means of dialogic meaning production.

RELATIONAL SPACE: The Digital Interactive Art Space at Vallensbaek Train Station

DIAS, the Digital Interactive Art Space, is the first curated exhibition space in Denmark to focus solely on the digital art field. Since its opening in 2014, DIAS exhibits works by Danish and international artists with practices based on digital and electronic media, for example, video art, sound art and interactive artworks. DIAS is situated in the fully functioning Vallensbaek station southwest of Copenhagen. While merging with the daily rhythms of its host, the art space is open to the public around-the-clock. Based on experiences, photographs, and an interview with the daily leader of DIAS, this article investigates how understandings of intensity and relation based on works by Gilles Deleuze and Sylvia Lavin can provide knowledge about how digital art can be a potential resource in our everyday surroundings, and how Vallensbaek station exhibits digital and interactive art for it to become a potential resource in the train passengers' lives.

Where Qualitative Researchers and Technologies Meet: Lessons From Interactive Digital Art

Drawing from research and theory on interactive digital art (specifically) and the social shaping of technology (more generally), this investigation challenges common conceptualizations of the use of Qualitative Data Analysis Software (QDA Software). Through new frameworks for understanding qualitative research practice, the author pushes QDA Software developers, users, and critics to better understand the entangled relationships between qualitative researchers and digital tools for qualitative research. This is achieved by examining four displays of interactive digital art to disrupt the fairly simplistic binaries such as software/methods, researcher/technology, and automated/manual. After a focus on the experience of visitors to these displays, the article concludes with the analogy of the ideal qualitative researcher as a “good visitor” to emphasize the local, dynamic, engaged, and experiential aspects of respectfully and productively collecting and analyzing relevant qualitative data, regardless of whether a researcher uses digital tools to do so or not.

Digital Tools for Qualitative Research: Disruptions and Entanglements

In this introduction to the special issue on digital tools for qualitative research, we focus on the intersection of new technologies and methods of inquiry, particularly as this pertains to educating the next generation of scholars. Selected papers from the 2015 International Congress of Qualitative Inquiry special strand on digital tools for qualitative research are brought together here to explore, among other things, blogging as a tool for meaning-making, social media as a data source, data analysis software for engaging in postmodern pastiche and for supporting complex teams, cell phone application design to optimize data collection, and lessons from interactive digital art that pertain to the use of digital tools in qualitative research. This collection disrupts common conceptions (and persistent misconceptions) about the relationship between digital tools and qualitative research and illustrates the entanglements that occur whenever humans intersect with the nonhuman, the human-made, or other humans.

EvoluSon: Walking through an Interactive History of Music

Abstract The EvoluSon project proposes an immersive experience where the spectator explores an interactive visual and musical representation of the main periods of the history of Western music. The musical content is constituted of original musical compositions based on the theme of Bach’s Art of Fugue to illustrate the eight main musical eras from Antiquity to the contemporary epoch. The EvoluSon project contributes at the same time to the usage of VR for intangible culture representation and to interactive digital art that puts the user at the center of the experience. The EvoluSon project focuses on music through a presentation of the history of Western music, and uses virtual reality to valorize the different pieces through the ages. The user is immersed in a coherent visual and sound environment and can interact with both modalities. This project is the result of collaboration between a computer science research laboratory and a research laboratory on art and music. It was first presented to a public event on science and music organized by the computer science research laboratory.

With objects that speak: the force of interaction in historical African artefacts and contemporary art

A discussion on the role of interactive engagement as event in interactive digital art. The work in question, an exhibition of interactive digital art titled 'Meaning Motion' shown at the Wits Art Museum in Johannesburg. These interactive digital artworks are addressed against a series of traditional African artworks and artefacts that were shown in the museum, their initial alignment having been evoked from an unplanned synergy of forms and interactive mechanisms. Theoretically referencing Stern and Massumi in framing a definition of the implicit or continuous body frames this discussion.

Time Matters: Case Studies Analyzing Temporal Elements of the Aesthetic Interactive Experience in Interactive Media Art

Art-viewers spend time with art. Digital-media-art viewers' engagement is not only time-based but extendable, since depending on the level of aesthetic interaction, people spend more time with the piece, allowing more time to understand the meaning of the work. Interactive digital media art yields an experiential event to art-viewers. Without this interactive event the artwork’s existence becomes questionable. The meaning is output by an art-viewers input; set in a temporal space. A number of studies in HCI, UI, and UX design have dealt with various aspects of time. This paper intends to analyze time as an aesthetic element, and as the reason art-viewers invest their time with interactive digital media art works for artists and designers to understand what they and their prospective viewers are dealing with.

Interpretive Strategies for Screen-Based Creative Technologies

This paper brings together the disciplines of media and creative technologies studies and software systems engineering; it focuses on the challenge of finding methodologies to measure, test and decode meaning in digital cultural objects. Just as rough set theory is a mathematical tool to deal with vagueness and uncertainty in artificial intelligence, and approximation accuracy and knowledge granularity are approaches to uncertainty research, the authors argue that découpage analytique is a possible method for decoding screen-based information. They draw on a variety of examples: interactive online digital art projects; an interactive, immersive screen-based art installation; re-mediated digital art installation; expanded cinema; a videogame; and a medical interface example, in order to determine if it is possible to map interpretive strategies that include a blending of old and new criteria, but ultimately promoting an equal partnership between artist and audience, and thus, a community of co-creators. Additionally, the authors present experimental evidence on the difference introduced by the screen size to further qualify the effectiveness of découpage analytique in relation to the amount of screen real estate afforded.

Real-time 3D fluid simulation digital art using BCI

We present a methodology about real-time 3D fluid simulation system using BCI (brain–computer interface). Spectators appreciate our work with their emotion. The advance of technology has exerted huge impacts on arts and as result a new genre called digital art has emerged. In digital art, interaction is an important element. Various types of interaction are bein g implemented in digital art using touch, hand gesture, sound, movement, etc., even brain wave. Usually, digital artists pursue interactions in their art work; the reason is that they want spectators’ deep appreciation and involvement. However, many of interactive digital art works fail to induce interaction as much as the artists expected. If visible interaction is weak, or interaction result is weak, spectators are not immersed much in the work. Nowadays, there are many interactive digital arts. In digital art, new type of interaction is needed to captivate spectators. So, we tried to implement BCI interaction digital art prototype (tentative title: Soul flow). Electroencephalography (EEG) is the recording of brain electrical activity along the scalp. We measured user’s EEG signal using MindSet (the MindSet senses EEG brainwave data to power the innovation of laboratory researchers and application developers like no other EEG device in the world. It delivers RAW signal, power frequency bands and NeuroSky eSense meters:attention, meditation. http://www.neurosky.com/products/mindset.aspx) to take user’s emotional state on appreciating digital art. We can get user’s emotional state in four categories (attention/inattention, meditation/uneasiness) and these emotional states interact with 3D fluid simulation system in real-time. In this art work prototype, each spectator experiences each different fluid (scale, speed and visual) because each spectator has different emotional state. Our art work prototype expressed the flow through water flow simulation. Flow means the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by complete absorption in what one does (The psychology of optimal experience 1990). In addition, it means stream in water flow. We pursued these concepts and expressed to 3D fluid simulation digital art using BCI. We used Unity3D and MindSet to implement our art work prototype. This study will expand the participation of the spectator in digital art. In addition, it will expand the possibilities of BCI in digital art interaction.

Touch, Look and Listen: The Multisensory Experience in Digital Art of Japan

This paper presents and examines several examples of digital interactive art in Japan. It analyses its roots in traditional East Asian philosophy, which grants the senses a prominent role in perceiving the world. By reflecting on traditional beliefs and contemporary art and technology in Japan, the essay reflects on the expansion of this culturally and traditionally inspired spirituality from its original context in the socio-cultural interpretation of the natural world to contemporary digitally mediated environments. The goal of this paper is to make explicit some of the main traditionally transmitted characteristics and historically conditioned approaches to technology and its use, focusing on multisensory experience. The treatment presents several multimodal artworks by Japanese artists, such as Ryota Kuwakubo, Masaki Fujihata and Kumiko Kushiyama.

Demo hour

Interactivity is a unique forum of the ACM CHI Conference that showcases hands-on demonstrations, novel interactive technologies, and artistic installations. At CHI 2015 in Seoul we hosted more than 30 exhibits, including an invited digital interactive art exhibit. Interactivity highlights the diverse group of computer scientists, sociologists, designers, psychologists, artists, and many more who make up the CHI community. Julie R. Williamson and Juhyun Eune, CHI 2015 Interactivity Chairs

Application of Reinforcement Learning System to Interactive Digital Art

The advance of science and technology has exerted huge impacts on arts and as result a new genre called digital art has emerged. In digital art, interaction is a very important element. Unique interactions, peculiar enjoyments or entertaining elements make digital art works look like a game. Various types of interaction are being implemented in digital art using touch, sound, movement, etc. Some digital art works are even called game art because game-like elements are expressed strongly. In general, interactive works adopting concepts such as ”goal” or ”contest” can be called game art. Digital art is quite similar to games by nature. An important fact is that those having the nature of game induce the spectators' involvement and immersion more than simple interactive works. The reason that artists include interactive components in their works is that they want the spectators' deeper appreciation and involvement. However, many of interactive works fail to induce interaction as much as the artists expect. If visible interaction is weak, spectators are not immersed much in the work. This study purposes to apply and implement to express digital art using the reinforcement learning technology, which is used in games that are highly interactive contents, for the interactivity of digital art works, and to evaluate and discuss the results. In this study, the reinforcement learning theory was applied to our art work ”The Flying,” a flight simulation game created as a digital art work using Kinect. This work is a game art for learning how to fly. It expresses the human desire to fly through the process of a bird's flying training, and in the process the spectator appreciates the work through reinforcement learning.

Bodies and real-time interfaces: in video performance and interactive digital 3D installation art by VALIE EXPORT and Jette Gejl Kristensen

This article considers the interface as the physical interaction of human body and technology inspired by the theories of Maurizio Lazzarato, Brian Massumi, and Anna Munster. Through artworks by VALIE EXPORT (Adjunct Dislocations II) and Jette Gejl Kristensen (Hyperkinetic Kayak) it examines how bodies and advanced technology together perform real-time interfaces in concrete spaces launching complex events of affective encounters.Ulla Angkjær Jørgensen is Associate Professor of Art History, PhD, at the Norwegian University of Science and Technology in Trondheim. Her research interests focus on twentieth-century art, contemporary art, visual culture, new media, feminism, and gender perspectives on art history. She has published extensively on these subjects. She is currently a participant in two Norwegian research council projects, Conflicts and Negotiations on gender and valuation in art and literature, and The Sámi Art Project. Latest publication, «Håkki at Home: the Remediation of a Local Place». IN (eds) B. M. Stavning Thomsen & K. Ørjasæter Globalization Art. Negotiating Place, Identity and Nation in Contemporary Nordic Art. Aarhus: Aarhus University Press, 2011.