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Library of Congress Cataloging-in-Publication Data Kwastek, Katja. Aesthetics of interaction in digital art / Katja Kwastek ; foreword by Dieter Daniels, pages cm.
Table of contents
- by Katja Kwastek
- Aesthetics of Interaction in Digital Art
- Aesthetics of interaction in digital art - Katja Kwastek | ewucyxumec.tk
- Applied aesthetics
Other editions. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. An art-historical perspective on interactive media art that provides theoretical and methodological tools for understanding and analyzing digital art. Get A Copy. More Details Other Editions 4. Friend Reviews. To see what your friends thought of this book, please sign up.
To ask other readers questions about Aesthetics of Interaction in Digital Art , please sign up. Be the first to ask a question about Aesthetics of Interaction in Digital Art. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. Thorough research in the literature of art theory, play and interactive media, coupled with some well thought out case studies, but this book fails to develop on its promise of a theory of aesthetics of interaction, while also missing out on some key areas feminist theory, site specificity that seem relevant to a lot of interactive artwork.
Well researched and a good anthology, but unfortunately incomplete.
A good overview of the evolving arts. Very well researched with interesting opinions on the environment. Lots of good Artists mentioned. Charles Kinbote rated it liked it Sep 02, Jim Parrillo rated it it was amazing Jun 21, Raymond Mccord rated it it was amazing Aug 25, John rated it really liked it Feb 11, Nanna rated it liked it Jan 02, Waldo Costa marked it as to-read Jun 07, Alan marked it as to-read Apr 08, Katya Lalyko marked it as to-read Apr 23, More recently, Elliot Eisner and jan jagodzinski have reopened the debate.
Other researchers with postmodern or poststructural influences have done the same, these include Cleo H. Cherryholmes and Michel Foucault. Aesthetics in education has been linked to pragmatism as well as other areas of curriculum development and implementation. Pinar, William M. Reynolds, Patrick Slattery and Peter Taubman for more information.
Fashion designers use a variety of techniques to allow people to express the truth about their unconscious minds by way of their clothing. To create wearable personality designers use fabric, cut, colour, scale, references to the past, texture, color harmony, distressing, transparency, insignia, accessories, beading and embroidery. It is also used to find the average size of things, to make a product suitable for a high number of customers.
Film combines many diverse disciplines, each of which may have their own rules of aesthetics. The aesthetics of cinematography are closely related to still photography , but the movement of the subject s , or the camera and the intensities, colors, and placement of the lighting are highly important. Sound recording , editing, and mixing are other, highly important areas of film, often closely related with the musical score. As in Theatre , art direction , in the design of the sets and shooting locations also applies, as well as costume design and makeup. All of these disciplines are closely inter-twined and must be brought together by the aesthetic sensibilities of the director.
Montage , or editing is probably the one discipline unique to film, video, and television.
The timing, rhythm and progression of shots form the ultimate composition of the film. This procedure is one of the most critical element of post production , and incorporates sound editing and mixing, as well as the design and execution of digital special effects. In the case of a video installation , the method of presentation becomes critical. The work may be screened on a simple monitor , projected on a wall or other surface, or incorporated into a larger sculptural installation.
A video installation may also involve sound, with similar considerations to be made based on speaker design and placement, volume, and tone. Although food is a basic and frequently experienced commodity, careful attention to the aesthetic possibilities of foodstuffs can turn eating into gastronomy. In regard to drinking water , there are formal criteria for aesthetic value including odour , colour , total dissolved solids and clarity.
There are numerical standards in the U.
by Katja Kwastek
Note, however, a use of a word translated to "culinary" in Adorno's aesthetics. Adorno distinguishes between technically accurate and "beautiful" musical interpretation, and an interpretation higher which brings out the "truth" in the musical text: interpretations more rehearsed, with more time for rehearsal, but which might sound strange to audiences pandered-to by popular conductors perhaps in the way Glenn Gould enstranges the music of Beethoven. Unfortunately for the ordinary reader of Adorno, this isn't something technical such as "original instruments". It is instead the work of art that doesn't pander to what the audience "wants" This is linked to a Marxist interpretation which instead of treating the audience as an all-powerful "customer" adopts a teacherly or even priestly stance "above" the mere audience, something only the most "snobbish" of French chefs would dare, proposing to teach it to like Higher Things.
Based on Adorno's theory of the merely culinary as not being "art", this would seem to mean that it is a joke, for an Adornoite if such a person exists meaningfully , to treat cooking as an art form or eating as art appreciation. Monty Python would often reverberate with this sort of arcana in a strange way: in the Mr. Creosote passage of The Meaning of Life, an enormously fat man is persuaded by the fawning waiter to have one more sweet whereupon Mr.
Creosote throws up all over the dining room. Note that the scene has more claims to be art, despite being nauseating, than designer food. This MAY be an unconscious comment on any theory of art that blindly equates "fine dining" and a visit to the picture galleries, a sort of tourist equation in which picture galleries are overrun in fact by post-prandial Mr. Even the ordinary man in the street would say that the starving artist visiting the gallery has a "better" apprehension of the higher, more inner, more elusive aura of the art work than Mr.
Creosote, which means that for some authors, including Adorno, there is a nexus between ethics which nearly tracks aesthetics polyphonically, where we use "good" and "bad" in ethics to characterise people and their deeds, and in aesthetics to judge what to buy. The possibility of a rejection of the culinary in art starts with Kant's theory of the sublime but does not end there; post Holocaust with its Nazis playing Bach: with Adorno's questions about poetry after Auschwitz the culinary, and whether the German officer enjoying a "fine" meal has much of anything to do with art, become important aesthetic questions.
A Marxist theory of art would probably conclude that the chef cannot be an artist, lacking autonomy and beholden to the customer, Mr.
Aesthetics of Interaction in Digital Art
Creosote, in all regards. There is a developed theory of the aesthetics of jokes and humor, including a mathematical and logical analysis. The staff of the Design Aesthetics section focuses on design, appearance and the way people perceive products. Design aesthetics is interested in the appearance of products; the explanation and meaning of this appearance is studied mainly in terms of social and cultural factors.
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The distinctive focus of the section is research and education in the field of sensory modalities in relation to product design. These fields of attention generate design baggage that enables engineers to design products, systems, and services, and match them to the correct field of use. Aesthetics in information technology has focused upon the study of human-computer interaction and creating user-friendly devices and software applications.
Software itself has aesthetic dimensions " software aesthetics " , as do information-technology-mediated processes and experiences such as computer video games and virtual reality simulations. Digital culture is a distinct aesthetic to judge the appeal of digital environments such as Web browsers , websites , and icons, as well as visual and aural art produced exclusively with digital technologies. The notion of cyberspace has sometimes been linked to the concept of the sublime.
Aesthetics in information technology do also apply to the act of designing software itself. Numerous programmers profess to experiencing a dimension of elegance in the functionality and structuring of software at the source code level. This contrasts with code that is as code all too often is short, cryptic, unclear, and unnecessarily "clever". In-line documentation, while not strictly code, can be considered something a programmer would need to be good at in order to write beautiful code.
Correctly done, documentation can accentuate the effect of beautiful code, when it is clear, concise, explains the intent of the programmer, and expands the understanding that one can gain by simply looking at the code. Comments that are redundant only explain what the code already explains , cryptic, and overly long or short can detract from beautiful code.
Aesthetics of interaction in digital art - Katja Kwastek | ewucyxumec.tk
Aesthetics in programming can also have a practical level: Under the right conditions, elegant code can run faster and more efficiently, and most importantly be less prone to errors. Critics of this would say that the need to justify "good design" by reference to "cost savings" means that "good design" isn't "art" insofar as art is autonomous, and many aestheticians would have to say that art emerges in applications only in excess of cost savings.
In information technology, theorists of "user friendliness" have to justify their "user friendly" applications and often disregard basic statistics when most users like a system, but a significant minority hate it. That is, they may discard the standard deviation of their data in order to sell a good design for the best price, and this has nothing to do with art insofar as art is a useful signifier if you cost-justify everything you are a businessman and not an artist.
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A folk phenomenon among real programmers is in fact their frequent hatred of practice described in books as best practice and good design. A Marxist theory of industrial "art" would ascribe this to alienation, in which subaltern programmers never produce code they own in any meaningful sense, with the problem that the same sort of alienation, soldiering, and bloody-mindedness appeared, it seems, in Soviet computing shops. The most sophisticated writings on the topic of aesthetics are to be found in the late Edsger Wybe Dijkstra's corpus of papers and notes on computing: in Dijkstra, the art is real, but Ying with respect to the Yang of applications; Dijkstra seemed to have refused any analysis of programming as other than applied mathematics and, strange to say, never pursued what Adorno the midcentury theoretician of whom Dijkstra was apparently unaware called a purely culinary elegance Dijkstra's beauty refused the notion of accessibility as do many "artistic" works ancient and modern: it was hard as is the Grosse Fuge, Beethoven's syncopated and neo-primitive late movement.
In fact, no aesthetician makes "user friendliness" canonical and necessary in a work of art, strange to say in an era when supposedly the masses rule through the market; for most art theorists, it is nice if the canaille can enjoy some pretty rondo of Mozart and whistle it on the street, but would deny that this property must be shared by the Masonic prelude and fugue or the Requiem mass.
This makes strange any claim that a programmer making his work "user friendly" to all comers is some sort of artist by virtue of that. For Dijsktra, truth was primary, and beauty the automatic result. Landscape designers draw upon design elements such as axis, line, landform, horizontal and vertical planes, texture, and scale to create aesthetic variation within the landscape. They may additionally make use of aesthetic elements such as pools or fountains of water, plants, seasonal variance, stonework, fragrance, exterior lighting, statues, and lawns.
In poetry , short stories , novels and non-fiction , authors use a variety of techniques to appeal to our aesthetic values. Aesthetics in cartography relates to the visual experience of map reading and can take two forms: responses to the map itself as an aesthetic object e.
Cartographers make aesthetic judgments when designing maps to ensure that the content forms a clear expression of the theme s. Antique maps are perhaps especially revered due to their aesthetic value, which may seem to be derived from their styles of ornamentation. As such, aesthetics are often wrongly considered to be a by-product of design. If it is taken that aesthetic judgments are produced within a certain social context, they are fundamental to the cartographer's symbolisation and as such are integral to the function of maps.
As opposed to Industrial Design, which focuses on the aesthetic qualities of consumer products see below , the use of aesthetics in marketing concerns itself with the "trade dress" of a product, such as its branding, its commercial representation, or the reputation of its producer. Marketing professionals may tickle the consumer's aesthetic appreciation of sassyness, sophistication , color-harmony, stylishness, catchy jingles, slogans, craftsmanship, soothingness, attentiveness, authenticity, or the related perceived experiences associated with product consumption.
Marketing consists of intriguing the human mind to think in a direction where it would not have done so previously - or not without outside input. Human curiosity, self gain or mental adjustment is what drives marketing development itself. The aesthetics of mathematics are often compared with music and poetry. It's like asking why is Beethoven's Ninth Symphony beautiful. Some concepts in math with specific aesthetic application include sacred ratios in geometry , the intuitiveness of axioms, the complexity and intrigue of fractals, the solidness and regularity of polyhedra , and the serendipity of relating theorems across disciplines.
There is a developed aesthetic and theory of humor in mathematical humor. Some of the aesthetic elements expressed in music include lyricism, harmony , hypnotism, emotiveness, temporal dynamics, volume dynamics, resonance, playfulness, color, subtlety, elatedness, depth, and mood see musical development. Aesthetics in music are often believed to be highly sensitive to their context: what sounds good in modern rock music might sound terrible in the context of the early baroque age.