Behavioural

interfaces in the mediation between image and sound

Index:

Personal presentation;

Index:

Personal presentation; Presentation of the problem;

Index:

Personal presentation; Presentation of the problem; Some definitions;

Index:

Personal presentation; Presentation of the problem; Some definitions; Proposal;

Index:

Personal presentation; Presentation of the problem; Some definitions; Proposal; State of the Art;

Index:

Personal presentation; Presentation of the problem; Some definitions; Proposal; State of the Art; Methodology;

Index:

Personal presentation; Presentation of the problem; Some definitions; Proposal; State of the Art; Methodology; First experiences;

Index:

Personal presentation; Presentation of the problem; Some definitions; Proposal; State of the Art; Methodology; First experiences; Future work;

Index:

Personal presentation; Presentation of the problem; Some definitions; Proposal; State of the Art; Methodology; First experiences; Future work; References;

Personal presentation

Academic pathway; Projects;

Presentation of the problem

How behavioural interfaces can aid the performance of generative visuals?

Some definitions Generative art refers to any art practice where the artist uses a system that operates with some degree of autonomy, and contributes to or results in a completed work of art. Systems may include natural language instructions, biological or chemical processes, computer programs, machines, self-organizing materials, mathematical operations, and other procedural inventions. [1]
[1] Galanter, P. (2003). What is generative art? Complexity Theory as a Context for Art Theory. New York: Interactive

Telecommunications Program, New York University.

Some definitions
Understood as accesses dynamic process, the interface promotes a complex reading of the image as a sensible / intelligible, inaugurating a hybrid view in its own way, and recurrent in the process. Understood as god of passages, the interface is both the journey and arrival at the totalized image of subjectivity, based on an enlarged specularity is not based in reality nor exhausted. Finally, the interface as an access to a work of art, extends the notion of work and artist, articulating that access the process of formation of subjectivity and its understanding of reality. [2]

[3] S, C. (2010). O que um Interface? Da Entificao Identificao do Interface enquanto Complexo Mediador. Lisboa:

Universidade Nova de Lisboa

Proposal Open environments are subject to change in unpredictable ways, as applications may arrive, evolve, or disappear. In order to validate components in such environments, it can be useful to build simulation environments which reflect this highly unpredictable behavior. [3]

[3] Einar Broch Johnsen, Olaf Owe, Arild B. Torjusen. Validating Behavioral Component Interfaces in Rewriting Logic. Fundam.

Inform., 2008: 341~359

State of the Art

[LIA] [MARIUS WATZ]

Methodology I. Literature review; II. UEMs - Usability Evaluation Methods:

First experiences

[CONCERTO DENATAL - UCP] [FANTASIA- CDM] [2+N - CULTURGEST LISBOA]

First experiences
(a) concert with laptopers; (b) I had little control over the piece; (c) system very predictable; (d) sound input; (e) direct relationship with the sound;

First experiences
(a) concert with orchestra; (b) I had more control over the piece; (c) unpredictable system; (d) sound input; (e) had no direct relationship with the sound;

First experiences
(a) concert with laptopers; (b) difficult to control over the piece; (c) unpredictable system; (d) sound input; (e) OSC messages from the musicians (f) ultrasound sensors input (g) had no direct relationship with the sound;

Future work

Develop the interface; Improve the hole system; Share the work.

References
Galanter, P. (2003). What is generative art? Complexity Theory as a Context for Art Theory. New York: Interactive Telecommunications Program, New York University. S, C. (2010). O que um Interface? Da Entificao Identificao do Interface enquanto Complexo Mediador. Lisboa: Universidade Nova de Lisboa Barbosa, A. (2006). Displaced Sound Scapes: Computer-suported cooperative work for music applications. Barcelona: Universistat Pompeu Fabra Todd, S. & Latham, W. (1992). Evolutionary Art and Computers. Academic Press. Jeabra, T. (2002). Discriminate, generative and Imitative Learning. Massachusetts Institute of Technology Maeda, J (2005). Creative Code: Aesthetics and Computation. London: Thames & Hudson Fry, B. (2004). Computational Information Design. Massachusetts Institute of Technology Michael L. (2001). A Generative Theory of Shape (Lecture Notes in Computer Science). New York: Springer Verlag Manovich, L. (2008) Software Takes Command Mcluhan, H.M. (1964). Understanding Media: The Extensions of Man. New York: The New American Library

References
Walter, B. (2008). "The Work of Art in the Age of Technical Reproduction." Belknap Press Hansen, M.B.N. (2006). Bodies in Code: Interfaces with Digital Media. New York: Routledge DeWitt, T. (1978). Visual music: Searching for an aesthetic. Leonardo, Vol.20 pags 115-122. Levin, G. (2000) Painterly interfaces for Audivisual Performance. Massachusetts Institute of Technology Sommerer, C. & Mignonneau, L. (1998). ART @ SCIENCE. New York: Springer Verlag. Sommerer, C. & Lakhmi, C. & Mignonneau, L. (2008). The Art and Science of interface and Interaction Design. New York: Springer Verlag Whitney, J. (1980). Digital Harmony on the Complementary of Music and Visual Art. Byte Books, Peterborough Mc Graw-Hill. Dawkins, R. (2006). The Selfish Gene. New York: Oxford University Press Whitelaw, M. (2004). Metacreation, Art and Artificial Life. Cambridge: MIT Press Maes, P. (1994). Learning Interface Agents. Proceedings of the 1994 International Symposium on Next Generation Computer Interfaces, MITI Friend-21 Conference, Tokyo, Japan, February. Gerstner, K. (1986). The Forms of Color: The interaction of Visual Elements. Cambridge: MIT Press.

Obrigada!