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Friction in Games and Computational Media (Editorial)

Carvalhais, Miguel; Cardoso, Pedro

The issue is organised into four groups: Play; Art; Human; More-than-Human. The articles in the first group, Play, aim at exploring roles and expressions of friction within play and games. In Exploring Friction in Refugee Narratives: The Cases of Bury Me, My Love and Nour’s Choice, Cátia Ferreira explores how friction in interactive narrative games reflect and critiques sociopolitical issues by means of their g...



Art (For) After the End of (Our) World

Carvalhais, Miguel; Lee, Rosemary

Review of Pierre Huyghe’s Liminal. Pinault Collection, Palazzo Grassi, Punta della Dogana, Venice, March 17 to November 24, 2024. Curated by Anne Stenne in collaboration with Pierre Huyghe Studio, produced in partnership with the Leeum Museum in Seoul.


Rethinking Media Art in a Time of Pervasive Computation

Lee, Rosemary; Carvalhais, Miguel

As its aesthetics, methods, and conceptual focus have, in many respects, merged with those of mainstream contemporary art, the boundaries of media art have become more unclear than when the use of technology in art was more of a rare occurrence. While the term "media art" may be helpful in designating a particular sphere of practice and discourse, its current meaning has shifted as a result of changing contexts...


Rethinking Media Art in a Time of Pervasive Computation

Lee, Rosemary; Carvalhais, Miguel

As its aesthetics, methods, and conceptual focus have, in many respects, merged with those of mainstream contemporary art, the boundaries of media art have become more unclear than when the use of technology in art was more of a rare occurrence. While the term "media art" may be helpful in designating a particular sphere of practice and discourse, its current meaning has shifted as a result of changing contexts...


Computational art, dematerialisation and embodiment

Carvalhais, Miguel

Computational art often explores dematerialisation and immateriality through works that are more grounded on information and causal processes than on formal features or physical materials. Digital computation is substrate independent and so too tend to be those artworks that centre their aesthetic experience on computation. These artworks share several traits with conceptual art, one of them being the challengi...


Computational media and the paradox of permanence

Carvalhais, Miguel; Cardoso, Pedro

Throughout history we have sought permanence in media, to store information, communicate, and help us deal with an ever-changing world. Analog media have carried out this task despite their slow, but inevitable, processes of physical decay. Today computational media are seen as fast, cheap, and convenient alternatives for these tasks, even if they are quite the opposite, as they are anything but permanent. This...


How we Construct Meaning in Interactive Digital Narratives: a structurally coup...

Monteiro, Ana; Carvalhais, Miguel

Computational systems, by being procedural and interactive, encompass new radical possibilities and augment and extend the way we tell stories. The Interactive Digital Narratives that are created with them are ontological machines that can be formally understood in terms of processes and representations that expose and mask selections of potential action and movement. These qualities change how they construct a...


Audible (Art): The invisible connections

Gomes, José Alberto; Carvalhais, Miguel; Portovedo, Henrique

This is an introduction to a special edition of JSTA dedicated to the myriad forms of sonic connections and audible expressions. We approach three dimensions of sound in an artistic context: auditory specificities, performance dimensions, and computational listening. Sound is a complex phenomenon present in everyday life and dwelling between conscious and unconscious processes. A universe contained within itsel...


Audible (Art): an introduction to the invisible sonic connections

Gomes, José Alberto; Portovedo, Henrique; Carvalhais, Miguel

This is an introduction to a special edition of JSTA dedicated to the myriad forms of sonic connections and audible expressions. We approach three dimensions of sound in an artistic context: auditory specificities, performance dimensions, and computational listening. Sound is a complex phenomenon present in everyday life and dwelling between conscious and unconscious processes. A universe contained within itsel...


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