From a small community of pioneering artists who experimented with artificial intelligence (AI) in the 1970s, AI art has expanded, gained visibility, and attained socio-cultural relevance since the second half of the 2010s. Its topics, methodologies, presentational formats, and implications are closely related to a range of disciplines engaged in the research and application of AI. In this paper, I present a comprehensive framework for the critical exploration of AI art. It comprises the context of AI art, its prominent poetic features, major issues, and possible directions. I address the poetic, expressive, and ethical layers of AI art practices within the context of contemporary art, AI research, and related disciplines. I focus on the works that exemplify poetic complexity and manifest the epistemic or political ambiguities indicative of a broader milieu of contemporary culture, AI science, technology, economy, and society. By comparing, acknowledging, and contextualizing both their accomplishments and shortcomings, I outline the prospective strategies to advance the field. The aim of this framework is to expand the existing critical discourse of AI art with new perspectives which can be used to examine the creative attributes of emerging practices and to assess their cultural significance and socio-political impact. It contributes to rethinking and redefining the art/science/technology critique in the age when the arts, together with science and technology, are becoming increasingly responsible for changing ecologies, shaping cultural values, and political normalization.

The aim of this article is to theorize how materials can play an active, constitutive, and causally effective role in the production and sustenance of cultural forms and meanings. It does so through an empirical exploration of the Museum of Modern Art of New York (MoMA). The article describes the museum as an ‘objectification machine’ that endeavors to transform and stabilize artworks as meaningful ‘objects’ that can be exhibited, classified, and circulated. The article explains how the extent to which the museum succeeds in this process of stabilization ultimately depends on the material properties of artworks, and more specially, on whether these behave as ‘docile’ or ‘unruly’ objects. Drawing on different empirical examples, the article explores how docile and unruly objects shape organizational dynamics within the museum and, through them, the wider processes of institutional and cultural reproduction. The article uses this empirical example to highlight the importance of developing a new ‘material sensibility’ that restores heuristic dignity to the material within cultural sociology

This chapter examines digital virtual environments as a site for art and proposes a formal aesthetics for art in digital virtual environments. The study arises from the author's decades-long practice producing art in virtual environments and the related theoretical considerations that have arisen from that practice. The technical, conceptual and ontological status of virtual environments is examined in order to establish a base of intrinsic qualities that identify virtual environments as a medium for art. The philosophy of Gilbert Simondon is used to achieve this. The elements and principles the artist must employ to work with this medium are identified as data, display and modulation. The specificities of virtual environments as a medium for art are examined in order to establish a formal aesthetics. In particular, digital colour, visual opacity, digital sound, code, artificial intelligence, emergence and agency are identified as the primary qualities that the artist manipulates to bring forth art in a virtual environment. Draft for chapter published in "New Opportunities for for Artistic Practice in Virtual Worlds", 2015.

Scent has a long history of being treated as the medium for art. Its aesthetic, affective and evocative aspects enrich the art experience. Yet when it comes to the digital era, it seems to become the minority among the artworks. As digital olfaction is getting advanced in recent years, could it open up the opportunity to consider scent as the interface of tomorrow for digital art? This paper reviews how scent was treated as art in the past, examines its recent role in digital media, and discusses the possibilities it lays ahead for digital art in the future.

The Scent of Digital Art: Yesterday, Today, and Tomorrow. Available from:
http://dx.doi.org/10.1145/3106548.3106616
https://www.researchgate.net/publication/320070457_The_Scent_of_Digital_Art_Yesterday_Today_and_Tomorrow [accessed May 24 2018].

Procedural, parametric and generative computer-supported techniques in combination with mass customization and automated fabrication enable holistic manipulation in silico and the subsequent production of increasingly complex architectural arrangements. By automating parts of the design process, computers make it easier to develop designs through versioning and gradual adjustment. In recent architectural discourse, these approaches to designing have been described as morphogenesis.This paper invites further reflection on the possible meanings of this imported concept in the field of architectural designing. It contributes by comparing computational modelling of morphogenesis in plant science with techniques in architectural designing. Deriving examples from case-studies, the paper suggests potentials for collaboration and opportunities for bi-directional knowledge transfers.

I first encountered EVA London in 1995 through my establishment of the Virtual Library museums pages (VLmp), part of the World Wide Web Virtual Library. In 2003, I was invited back as a keynote speaker on the subject of website accessibility for cultural heritage resources. Since then I have been involved with every EVA London conference either as an author or since 2007 as a proceedings editor. This paper summarises the developments of the EVA London conference over the past 25 years from a personal viewpoint and celebrates the 30th anniversary of EVA London and the whole family of international EVA conferences. The development of the community around EVA (Electronic Visualisation and the Arts) is evaluated in the context of a Community of Practice. The paper also considers possible future directions for EVA.

Keywords: EVA London. EVA International. Online museums. Digital culture. Community of Practice.

What constitutes an affect cycle in digital networks? How is it enacted and what are the conse- quences for individuals, for digital data and for the society that comprises both? Further, what is the relationship between affect and emotion, and what is their relationship with digital networks? Is it possible for an affect cycle to be established between people and digital networks, between peo- ple via digital networks and between digital networks themselves? By examining recent affect theo- ry in combination with Simondon’s theories of technical evolution and other theories of interaction and knowledge, I will define the nature of affect as it emerges through the cycle of interaction be- tween people and digital networks. I trace these cycles through and between the overdetermined, underexamined sites of interaction across digital networks in order to identify who and what are participating in the capture and escape of affect. I also show how this is facilitated and what is changed during, and as a result of, these affective interactions. Using a deep understanding of the technical workings of digital networks, combined with receptiveness to the affective potential of emotional agency in our digital world, I situate human affective practice in the uneasy environment of algorithmic digital corporate networks.

Draft chapter for "Emotions, Technology, and Social Media" edited by Sharon Y. Tettegah

This paper introduces three approaches to using Evolutionary Computation (EC) in Music (namely, engineering, creative and musicological approaches) and discusses examples of representative systems that have been developed within the last decade, with emphasis on more recent and innovative works. We begin by reviewing engineering applications of EC in Music Technology such as Genetic Algorithms and Cellular Automata sound synthesis, followed by an introduction to applications where EC has been used to generate musical compositions. Next, we introduce ongoing research into EC models to study the origins of music and detail our own research work on modelling the evolution of melody.

Scholars of critical race studies, urban history, and information and communications technologies (ICTs) share an interest in the relationship between spatial and racial disparities, including the quality of basic infrastructure, degrees of connectivity, and participatory culture. However, contemporary research on the digital divide struggles to link historical legacies of uneven development, as well as social justice strategies, with digital participation in urban spaces. By examining contemporary digital art that critiques the spatial inequalities encountered by U.S. racial minorities, this article illustrates how public intellectuals use ICTs in ways that draw upon past strategies to territorialize space for political ends. It focuses on digital pop-ups, open-air installations that cast images onto public space using projectors. Historicizing these new efforts illustrates a continuity of tactics engaged by communities of color in response to socio-spatial inequalities in the urban United States, such as the 1970s mural movement’s efforts to re-politicize spaces of exclusion. While existing literature finds that digital inequality results in differential digital human capital, this research indicates that place-based claims, such as digital pop-ups, are important sites for combatting racial injustice and creating more inclusionary spaces, especially among youth adults.

This article argues that the computer automation of perspective and rendering in Google Earth has far-reaching consequences for the relationships between representations of the earth, its ecology and cultural responses to climate change. Theorists Erwin Panofsky (1991) and William Ivins (1975) to Lev Manovich (1993) and Don Ihde (2009) have argued that the emergence of Renaissance perspective structured a new relationship between the image and the object: contributing to the initiation of industrialisation and science. Whilst Manovich describes the impacts of Renaissance perspective in terms of its effect upon scientific and industrial structures, Jean Louis Comolli has argued that its advent was both a cause and a consequence of a shift to a humanist social regime. This article argues that Google Earth and its corollaries now complicate the visual and discursive constitution of the cultural and ecological environment. The contemporary computer-generated ‘visual nominalism’ of Google Earth results in a photomapped representation of the earth that can elevate environmental awareness through visualised data sets at the same time as it reduces the earth to a product design–engineered object. As Comolli’s Machines of the Visible becomes Machinima of the Visible, this article asks whether public and scientific calls for a turn towards geoengineering can be viewed through a product design–engineered interface that reconstitutes the social machine as an engineer of the earth object itself.

The smart e-bike monitoring system (SEMS) is a platform for the real-time acquisition of usage data from electrically-assisted bikes (also called pedelecs or e-bikes). It is autonomous (runs off the bike battery), replicable (open source and open hardware), scalable (different fleet sizes) and modular (sensors can be added), so it can be used for further research and development. The system monitors location (global positioning system), rider control data (level of assistance) and other custom sensor input in real time. The SEMS data feeds an online interface for data analysis, for riders to view their own data and for sharing on social media. The basic system can be replicated by other researchers and can be extended with modules to explore various issues in e-bike research. The source code and hardware design are publicly available, under the General Public License, for non-commercial use. SEMS was implemented on 30 bikes and collected data during 10 months of real-word trials in the UK. This study details the design and implementation of the hardware and software, discusses the system use and explores features for future design iterations. The SEMS turns singular e-bikes into a networked fleet and is an example of the internet of things in the cycling context.

Aesthetic techniques are increasingly used by marketeers to create enticing digital products. In this paper, I work with the aesthetic experiences of one audience group to consider the psychological impact of living in a culture where digital devices are deliberately designed to influence behaviour. I argue that aesthetic encounters can help with understanding the impact of the interplay between visual stimulus, affect and digital culture, in ways that may support situated understandings of mental distress in a digital age. I show how audiences respond to the artist-led research project Are We All Addicts Now? arguing that they generate ideas connected to submersion and being overwhelmed as a means of reporting on their own personal experiences of living in a digital culture that seeks to influence behaviour. The findings may have value for designers, curators and artists invested in understanding the experiential impact of digital devices.

This article presents two case studies of marginalized youth experimenting with digital music production in flexible education settings. The cases were drawn from a 3-year study of alternative assessment in flexible learning centres for youth who have left for-mal schooling in Queensland, Australia. The educational issues are framed by reference to the literature on cultural studies approaches to education and the digital arts. Each case describes the student’s histories, cultural background and experiences, music pro-ductions, evidence of learning and re-engagement with education. Online judgements and blog comments about the digital music production are theorized as social fields of exchange. Findings document how digital music production can re-engage and extend  participation. The study questions the adequacy of current approaches to evaluating and accounting for the learning and development of youth in flexible education con-texts. It makes the case for educators to view popular music and video production as curriculum fields, where training, aesthetic and skill-based valuations and distinctions are exchanged between performers, performances and audiences.

The multimodal autobiographical composition offers students a way to position themselves as authors and address the tensions of identity within school settings. S chools designated as STEM (science, technology, engineering, and mathematics) may be the educational reform du jour in the United States and globally. Arguably, this is one of the education issues of our times. According to the U.S. Department of Education (2007), 75% of the fastest growing occupations require significant science and mathematics training. Yet, there is a shortage of workers for these growing fields of employment. At the federal level, the plan to shore up the STEM pipeline is twofold: (1) to improve teacher quality through recruitment of new teachers in the STEM disciplines and to foster professional development for those teachers already in the field; and (2) to focus on engagement of students in STEM disciplines through innovative curriculum, partnerships between schools and industry, and recruitment of students into STEM specialty schools (U.S. Department of Education, 2007). Already, millions of federal, state, and corporate dollars have been invested in projects in the hope of bolstering U.S. students' STEM knowledge. Driven by a desire to develop knowledgeable students who will in turn be able to compete for global STEM industry jobs of the future, stakeholders in U.S. schools have rushed to devise and implement new STEM programs. Under debate and scrutiny are the issues of the nature of the STEM programs, the goals of STEM education, and the preparedness of teachers for STEM settings. So-called STEM settings are typically middle and high schools with a STEM focus, in which the entire curriculum is suffused with math and science applications. These are often termed magnet schools in that they are designed to draw those adolescents who are thinking about math-, technology-, or science-related careers. In a report commissioned by Microsoft Corporation on college students' perspectives on STEM education (Harris Interactive, 2011), approximately 78% of students reported that they had decided to study a STEM-related field before enrolling in college. Those college students who felt most prepared for college STEM courses cited having experience in challenging, college-preparatory high school courses. Students in these schools, of course, still need to take all required courses, including such non-STEM-focused courses as English, social studies, foreign language, and arts-related classes. We have wondered about these non-STEM classes that are located within these STEM settings and the preparation of teachers of English who might go to work in STEM schools. This is the kind of setting in which we found ourselves, three scholars of multimodal literacy. We, along with our preservice teachers (PSTs), were invited by the school administration to work with STEM students on a literacy project. We decided to engage students in creating a multimodal autobiography (MA) to immerse them

The digital revolution has already left its footprint in the cultural industry by not only introducing new aesthetics and art forms, but also by crucially transforming the practices of museums, libraries, archives, and cultural institutions in general. However, although most museums rely on the use of digital technologies in one way or another, few actively collect and preserve media and digital art. This apparent contradiction has not only endangered the future availability of specific artworks but it has also impeded the proper contextualization and historicization of media art.

In this paper, I start from the premise that a significant factor preventing media art from being fully assimilated by museums and the art market is its fluctuating condition between materiality and immateriality, as well as other issues associated with the identification of its artistic medium. In order to approach these problems, I emphasize both the material and immaterial, as well as medial dimensions of media art by drawing from discussions around the concept of medium in art, Rosalind Krauss’s postmedium condition, and Christiane Paul’s notion of neomateriality.

As a case study, I use Christa Sommerer and Laurent Mignonneau’s project "Portrait on the Fly" (2015), which addresses the issue of media art preservation in three different levels: an iconographic level through the symbolism of the fly as an image of decay and loss, a pragmatic level as an artwork existing in multiple materialities, and a narrative level in the creation of a growing archive of portraits of the figures that have shaped the field of media art.

This photo-essay sutures and structures a massive pool of images emerging out of an art-project conducted by the author, CAMP Studio, Mumbai, and Kenneth Cyrus (cinematographer), in the context of Response, CIMA 25th Anniversary show, held during January-February 2018 in Kolkata. The pro- ject negotiated the multi-planar history of the city, and thus, by emphasiz- ing on its heterogeneity, recreated a visual record of its chronotopia (Also see Foucault, ‘Of Other Spaces’, 22–27). The process was possible by setting up a camera on top of a defunct theatre – Gem (Entally, AJC Bose Road); and, by shooting ceaselessly for over 10 days an immersive and 360-degree time-space movement was generated. The project was first streamed live and thereafter, the edited material was staged inside the theatre, with which the (local) people/participants interacted. A play between recorded events and liveliness, the video (1 hour) brought forth multiple memories of the place (Gem), the locality and adjacent spaces, as well as a range of narratives of regarding noted and trifling events. The project involved a cinematic journey through the cityscape, and an engaging and challenging artistic quest by exploring the ‘kino-eye’. The omniscient camera-eye pro- voked us to become intimate with our immediate and distant contexts, and produced a dense tapestry of the city.

HEWILLNOTDIVIDE.US, a participatory project by the artist collective LaBeouf, Rönkko & Turner, invited people to make statements against division following the inauguration of Donald J. Trump. Their declarations in a courtyard in Queens, New York streamed live to the internet, negotiating both the dyad of celebrity and surveillance and the juxtaposition of physical place and the dispersiveness of the internet. Through a systematic look at the various contours of participation at the work's initial installation in Queens, I examine how the manifestation of trolls on the video feeda document that is the intersection of the physical and digital public spheres the work engagesimpacted the spatial, racial, and gendered politics of the space around it.

This paper describes three interactive artefacts created for a children’s exhibition intended to encourage creativity and allow educational opportunities to emerge naturally through playful exploration. We describe five sensibilities that were used to inform our designs: considering artefacts as resources and scaffolds for imaginative engagement, rewarding extended investment, facilitating requisite unpredictability, encouraging an imaginative orientation to participation, and permitting multiple loci for interaction. Based on observation of how our interactives were used by the public, we discuss how our approach facilitated ‘open interactions’ in a manner that was sensitive to the museum context, favoured a mix of materialities, and manifested a subtle mix of participation and designer autonomy.

An interactive artwork takes on the shape of an event. An artist does not make a final, completed piece of art, instead produces an area of activity for the receivers, whose interactive actions bring to life an artwork-event. Regardless of what shape the final product of an artist's activity takes on, an interactive artwork finds its final formation only as a result of participative behavior of the viewers. The latter ones in that way become participants, performers, executors, or (co)creators of an artwork-event. What I consider the basic area of research in interactive art are the strategies organizing fields of activity for the receivers-participants. They can be understood as scores that project the interactive behavior of the receivers. The typology I put forward in this essay distinguish eight strategies of interactive art: strategy of instrument, game, archives, labyrinth, rhizome, system, network, and spectacle. The analysis of individual strategies reveals that all the common elements that occur there and characterizing an interactive experience en globe are organized differently each time. These elements are interface, interactions, data (database), data organization (hypertext, cybertext), software/hardware system, relations among participants, and performance/spectacle. In every strategy, a different factor takes a position superior to others and plays the basic role in the process of organizing interactive activities of the receivers. This means that it is not the occurrence within the frames of individual strategies of elements that are different each time, but their organization and hierarchy different each time that play a decisive role in providing strategies with their specific character. Discussing all strategies I shall distinguish their basic characteristic features but also pay attention to their range and variety of their forms observed so far. The latter aim I shall realize by pointing out to various actual examples of artistic usage of particular strategies.

The Everywhere Museum of Everything is a research and action proposal founded on the array of aestheticised online content, which can be purposefully and critically curated in order to create a meaningful territory of contemporary online culture, art and knowledge creation. This abundance of content is rooted in a culture of consumerism, blackboxed mobile applications and social networks. Individual experiences in the physical world have been transformed by onlineness, a combination of the pervasive use of mobile devices and applications over Internet access, used to share opinions and evidence through original and remixed media, often complemented by hashtagging. Even if the majority of this content quickly becomes irrelevant and forgotten, it can still be accessed through an augmented view of the world, as digital media is frequently anchored to locations through geotagging or referencing. This vast collection lacks systematization and classification, but presents multiple possibilities for artists, curators and scholars.

Pelo Futuro do Passado é uma instalação audiovisual interativa
que provoca uma (re)conexão dos quatro elementos primordiais com a consciência e a ética, o questionamento do mundo, a sociedade e a vida, através de um processo de interação. Visa (re)criar significados ou reforçar sentidos sobre o ambiente, a vida e a globalização. Não nos dá respostas, mas permite-nos questionar as nossas escolhas.

This paper examines the use of the blockchain to create limited editions of digital art with a particular focus on the business models of two companies: Monegraph and Ascribe. For some, blockchain technologies suggest an opportunity for artists to protect their work from misuse and expropriation. For others it suggests the possibility of stronger forms of digital rights management going forward that may negatively impact digital culture. Through discourse analysis of the patents and whitepapers of start-ups who are working to cryptographically secure art this paper argues that the aim of limited editions on the blockchain is not usually to institute a new form of digital rights management but rather to create new kinds of digital assets. In turn this trend implies a different operation of intellectual property rights where alienation rather than exclusion is significant, and a different operation of artificial scarcity with respect to cultural goods, where their free circulation is not necessarily antithetical to profit.

This article discusses digital three-dimensional animations by Miao Xiaochun and Lu Yang. The two artists’ works are commonly based on the expressive possibilities of digital software and virtual space, such as non-naturalistic rendering of objects, vertical and multiple perspectives distinct from the linear perspective of traditional painting and photography, and the virtual camera's freedom of omnidirectional and gravitation-free movements. While this article provides in-depth analyses of the works in terms of how these expressive possibilities allow Miao and Lu to create the spatially and temporally complex worlds in which past, present and future dynamically coexist and interact with one another, I also argue that both artists are different in their technical and conceptual approaches to digital technology and its impact on reality and subjectivity. To demonstrate these differences, I draw on the ideas of ‘digital’ and ‘postdigital’ art: whereas digital art is marked by the ambivalent tendency to exploit the new properties of the digital while also seeking the ways of translating the forms and techniques of traditional arts in the tools and space of the computer, postdigital art means a variety of artistic responses to the situation that the internet and digital technologies are no longer perceived as new but as fundamentally restructuring our subjectivity and world.

During the last two decades, the emergence of fresh categories within new media art has posed unprecedented challenges to museums, motivating the creation of new institutions specifically designed to house and display works of this type. Therefore, digital and Internet art have configured an interesting field for architectural research. Frequently, the architecture of these new museums has revealed utopian visions that derive from profound contradictions between the intangible world of communication technology and the conventional requirements of physical spaces. Just as in previous periods of art history, some of the most groundbreaking projects did not end up as finished buildings, either because their construction would be too expensive and technically problematic, or just because they were deliberately conceived as virtual spaces. However, and surprisingly enough, even these web-specific museums sometimes proved to be too ambitious or ahead of their time. In this scenario, and drawing on a set of emblematic projects, this paper seeks to discuss a topical question: how can museum architecture deal with the intangible, unstable and ubiquitous condition of digital art? Digital art. New media art. Post-Internet culture. Museum architecture. Virtual museums.

Still and video panoramas provide exciting opportunities for individual users to take virtual journeys through a wide range of environments. The opportunity they provide for the basis of interactive storytelling has not been substantially investigated. A combination of computer graphics and 3D modelling enriches the educational aspects of narratives created using a spherical video camera by illustrating objects that are hidden, not only physically but also due to the passage of time. Video panoramas created using a spherical video camera and within 3D modelling software are discussed in this paper employing the example of two heritage sites: Charles Church in Plymouth, UK and the town of Launceston, UK. Objects and artefacts created through the process of laser scanning and QTVR object movies can be placed within panoramic environments using XML and Flash based panoramic viewers enriching the experience of the audience by merging educational components with entertainment.

This paper offers a contribution to an emerging culturally orientated discourse regarding mixed reality interaction. It seeks to define syncretic, or hybridized agency, particularly in social mixed reality data transfer artworks. Recent developments in bridging relationships with digital representation of identity through mixed reality interfacing, have brought about the need for further analysis of these new post-biological, hybridized states of being that traverse traditional paradigms of biophysics. time and space, and artistic practice. Roy Ascott's interpretation of syncretism within digital networks may facilitate further understanding of multi-layered consciousness, both material and metaphysical, that are emerging from our engagement with such pervasive computational technologies and post-biological systems. Syncretism has traditionally been regarded as an attempt to harmonise and analogise Citing recent examples of practical research outcomes, this paper will cite what Deleuze and Guattari have called 'deterritorialisation' of the human body and its dispersion throughout multiple reality manifestations and how mixed reality data transfer might constitute a 'reterritorialising' effect that creates a syncretic post-biological digital identity for the user [2].

Departing from the discourse on whether a specific (social, ethical) responsibility is attached to the creation and manipulation of algorithms, this article questions the prerequisite of having an identity of algorithms to which that responsibility could be attached. After showing that such identity is partly fictional due to the fact that algorithms are connected to other algorithms and their identity is always a selective reading of a series of transitions through which algorithms come into existence, the perspective is shifted to the algorithmic as the medium of algorithms and as the actual agential domain. This shift translates responsibility into the ability to respond to otherness and non-identity through sensitive forms of alignment. Comparing the algorithmic with the desiring-machines of Deleuze and Guattari, this article proposes that its dynamics of flows and interruptions could be artistically reflected as halting operations that controvert the superficial evaluation of algorithms, for example under the classical decision problem or halting problem. A possible strategy for making the inner dynamics perceivable is proposed through a balancing act between the credible and the incredible, the plausible and the implausible.

Playfulness is a vague and ambiguous term. While it is easy to realize that a specific situation is playful, the concept itself is hard to grasp. Situations shift in and out of playfulness, leaving the term with hazy borders. This essay attempts to contribute to analysing playfulness in a rather unusual form. Instead of directly approaching the target, we take a stroll into the borderland that surrounds it, embarking on a quest to mark the borders of playfulness.

In the participatory performance event Surrender Control (2001, Tim Etchells), the audience is asked to submit to a distant authority that will dictate their thoughts and behaviour through the medium of SMS. Subscribing to the event, one agrees to ‘surrender’ to the instructions one receives for a period of five days. In this article, Surrender Control is analysed in terms of presence and performativity, discussing the notion of a performative presence in relation to phenomena such as mediation, physical presence and absence. In this aesthetic analysis based on the author’s own experience of having participated in the event, the following questions are asked: how is authority established in the performance; and how is the effect of a present other, monitoring our actions, accomplished in the medium of words? J. L. Austin’s influential theory of performative speech acts as well as Hans-Ulrich Gumbrecht’s thoughts on presence production and presence effects serve as the main frames of theoretical reference on which the analysis is funded.

Keywords: authority, mediation, participatory performance, performativity, presence/absence, presence effects, SMS, surveillance

With a growing number of embedded digital experiences in arts and heritage settings, creating a broad global field, this article focuses on the use of mobile phones in the engagement of humans with the cultural heritage of public spaces, specifically those that require a promenade from one outdoor space to another. This article describes findings from a recent promenade initiative, commissioned for a UK arts festival, along with a review of literature, to critically engage with growing evidence of the diverse ways in which technology is integrated at direct user level. Concepts of 'hybrid spaces' and 'user agency' are discussed, along with the 'performativity' of spaces. Central to the discussion is the function of narrative in engaging the participant to construct new perspectives, which are facilitated by the mediating role of personal media devices between subject, narrative, space, and community.

It  is  undeniable  that  digital  technologies  transformed  contemporary  artistic  practice  and  cultural  production.  Particularly  in  the  field  of  the  performing  arts,  technology  changed  the  relationship  with the public narrative processes, creating an avenue to investigate contemporary dramaturgical practices.  This  paper  investigates  the  dramaturgical  transformations  as  a  result  of  the  increasing  use  of  robotics  in  performance  with  the  support  of  theories  of  Marianne  Van  Kerkhoven  (2009a;  2009b) Katalin Trencsényi, Bernadette Cochrane (Trencsényi & Cochrane 2014) and Peter Eckersall (Eckersall  et  all  2017).  Based  on  this  theoretical  framework,  this  paper  looks  into  themes  and  narrative  strategies  that  explore  the  relationship  and  emotional  connection  between  humans  and  robots. This is done through the analysis of the Hirata Oriza, Mari Velonaki, Blanca Li or Max Dean. To  further  the  study  of  a  dramaturgy  of  robots  and  machines,  this  paper  analyses  the  concept  systematurgy  (Antúnez  2016),  a  methodology  that  provides  an  insight  into  Marcel-Lí  Antúnez’s  body  of  work.  Systematurgy  demonstrates  how  Antúnez  articulates  technology  and  machine-like elements within a dramaturgical process. Unlike traditional theatre, Antúnez’s dramaturgical model is  not  focused  on  the  textual  elements  but  integrates  coding,  image,  drawing,  robotic  and  mechanical elements into the narrative structures of performance.

This chapter explores the emergent field of mobile augmented reality (AR) art as articulated on smartphones and tablets, and the impact of these new technologies on participatory art practices. Examples for analysis are drawn from recent geo-located mobile art by influential practitioners J. C. Freeman, J. Cardiff and G. B. Miller, W. Pappenheimer and T. Thiel. All have recently produced smartphone art apps and mobile AR apps that advance the concept of a parallel reality to the real world. These artworks are examined to articulate further the technical processes that produce art as a differentiated socio-cultural experience to the conventional gallery-based model of spectatorship. This chapter argues that this experience sits within the emergent field of posthuman digital humanities, as discussed by the eminent theorist Rosi Braidotti (2013).

We introduce photogrowth, an evolutionary approach to the production of non-photorealistic renderings of images. The painting algorithm -inspired by ant colony approachesis described and explained, giving emphasis to its novel aspects: the evolution of the sensory parameters of the ants; the production of resolution independent images; the rendering lines of variable width. The experimental results highlight the range of imagery that can be evolved by the system and show the potential of the approach for the production of large-format artworks.

In this paper, I wish to examine corporeality in the virtual realm, through the usage of the (non)-physical body of the avatar. Two sister art installations created in the virtual world of Second Life®, both of which are meant to be accessed with site specific avatars, will provide the creative platform whereby this investigation is undertaken. While the installation “Anatomia” wishes to propel the visitor towards reflections of an introverted nature, involving the fragility of the physical self; “body parts” seeks to challenge the residents of virtual environments into connecting with the virtual manifestations, i.e., avatars, of others in an emotionally expressive/intimate manner.

This paper outlines the design process of the project "Seven Mile Boots", a wearable art piece. Using the Seven Mile Boots, a user can travel seven miles in one step and traverse virtual social spaces of communication. The piece was often perceived as product design because it draws from the experience with everyday objects: boots.
By giving an overview on our three main design instruments - Guiding metaphors, prototypes and experiments – we hope to shed light on some aspects of design. Guiding metaphors are important in order to communicate and develop ideas in groups. Prototypes allow for testing a design with an audience in an experiment. The focus of this paper is on the interplay between art, design and technology in the production process.