As science and technology advance, museums of intangible cultural heritage have made significant investments in network and digital development. As a new art form, digital interactive artworks have ...gradually emerged. To realize the innovative development of intangible cultural heritage museums, literary and art workers need to make full use of the background of the meta-universe and related technologies to create museums empowered by new technologies, and use new technologies to help the construction of digital cultural relics and interactive exhibition halls. This paper mainly analyzes the characteristics of digital interactive art within the framework of meta-universe, from the development status of digital museums and the technical means of digitally empowering intangible cultural heritage museums. Through case analysis, this paper discusses the advantages of digital museums in display form and interaction. Finally, in the application of digital interactive technology, the author puts forward the strategy of building an interactive learning platform of ‘entertaining and entertaining’, creating a museum characteristic IP empowered by new technology, and constructing an immersive narrative scene of virtual and real symbiosis. Future developments of museums specializing in intangible cultural heritage can draw inspiration from the application strategies of these three digital virtual reality technologies in museums.
Giacomo Verde (Cimitile 1956-Lucca 2020), video artist and techno performer, has dedicated his entire life to the creation of a social and participatory art that directly engages the audience in the ...creative process, with the use of analogue, digital and web technologies. Verde was a tireless experimenter with new technologies, favouring the use of a poor technology, reinvented in relation to changing expressive needs. The present book follows, just over a year later, the previous text entitled Giacomo Verde. Attraversamenti tra teatro e video (1986-1992), also published by Milano University Press. The research is continued in this volume, which aims to show the artist's work in the period 1993-2003 through preparatory materials for interactive performances and installations that highlight the importance of drawing as a substantial medium in Verde's technological creative process.
Worldwide interest in understanding art and creative practices as valid forms of knowledge production has led to the establishment of research-creation as an interdisciplinary academic field in the ...last twenty years in Canada as elsewhere. Its establishment relates to a growing interest in critical making and technological innovation and to the legacies of feminism(s) and its critique of the power dynamics of knowledge production within academia. This article outlines a series of interactive projects that bring visibility to Latin American women in art, science and technology and speculates on the legacies of feminism(s) in the emergence of research-creation. The four projects discussed build on each other and explore re-mediation, re-activation and re-enactment as part of a collaborative feminist research-creation methodology. I theorize their potential to activate political memory by highlighting how these three approaches to creation share a preoccupation for revisiting the past through repetition, iteration and the facilitation of intergenerational encounters among humans, non-humans and across media and technologies. While discussing the feminist orientation of these approaches, I suggest a critique of dominant modes of knowledge production that have obscured the contributions of Latin American women and offer four research-creation interventions in the media arts archive.
•Interactive art and HCI have contributed to one another.•Interaction, creativity, embodiment, affect, and presence are common elements.•Machine intelligence will open new potentials in interactive ...art.•Challenges and opportunities for collaboration between the two were identified.
The connection between art and technology is much tighter than is commonly recognized. The emergence of aesthetic computing in the early 2000s has brought renewed focus on this relationship. In this article, we articulate how art and Human–Computer Interaction (HCI) are compatible with each other and actually essential to advance each other in this era, by briefly addressing interconnected components in both areas—interaction, creativity, embodiment, affect, and presence. After briefly introducing the history of interactive art, we discuss how art and HCI can contribute to one another by illustrating contemporary examples of art in immersive environments, robotic art, and machine intelligence in art. Then, we identify challenges and opportunities for collaborative efforts between art and HCI. Finally, we reiterate important implications and pose future directions. This article is intended as a catalyst to facilitate discussions on the mutual benefits of working together in the art and HCI communities. It also aims to provide artists and researchers in this domain with suggestions about where to go next.
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