Online Poster Session
Asynchronous Session
The Exploring Artificial Intelligence in Art Scientific School: Art and Scientific Research Together for Society View Digital Media
Poster Session Nicoletta Zonchello, Felice Colucci
CRS4 (www.crs4.it), is a Sardinian (Italy) interdisciplinary research center from 1990 promoting the study, development and application of innovative solutions to problems stemming from natural, social and industrial environments. Information Society and Technology and High Performance Computing are the supporting foundations. Initially headed by the Nobel Prize in Physics Carlo Rubbia, the research center was the protagonist of the digital revolution of the 90s in Italy, as the center that favored the birth and development of the first Italian internet provider (Tiscali). With the aim of investigating and fostering the link between Technology, Artificial Intelligence and Art, a scientific school has been promoted and addressed to researchers, humanists, artists, and all those working in the field of digital art, sharing the interest in this area which embraces, with equal dignity, scientific and artistic issues, in order to provide learners with a vision of art linked to human and computational creativity. The “EIA scientific school”, which has already been held in two editions: one pre-pandemic and one post-pandemic. was born from the awareness of the opportunities that can be opened when Research turns to new collaborative forms and invades mainly creative areas. The potential of this methodology lies in the ability to subvert the still all-Italian paradigm of scientific research detached from artistic practices, searching new interactions between digital, biological, cultural and spiritual systems, between cyberspace and real space, as in the truly post-digital conception.
How to Introduce the Camera in Workshop: From the Practice of the "Notice with your Body!” Workshop in Tendo, Japan View Digital Media
Poster Session Kanako Sasaki, Kaoru Yamada
Conducting a workshop has been introduced and operated in many fields in the past decade. There are various types and goals in workshops. Normally, the workshop could bring one new discovery or findings that one has never thought out before. For the study, we operated the performing art workshop for generating participants’ self-expression. This workshop was held in rural part of Japan in Tendo. Targeted participants were elders. During the activity, the camera functioned as not only the recorder of the scene, but also it played as a role, since many participants were expressive and gazing toward the camera. This presentation shows how the camera took part in the workshop in terms of workshop design.
Thinking Difference - a Re-imagination of British South Asian Identity through Re-enactments of Second-wave Feminist Activist Practices: Resistance with, through and from Positions of Difference View Digital Media
Poster Session Sohaila Baluch
This study focuses on an artwork in-progress which forms a part of my practice-led research. The artwork is composed of two lengths of jute rope which are merged with metal hairpins. This research deliberately utilises fibre and textile art processes to establish the significance of British South Asian contribution in shaping British history. Textiles and fibre have been instrumental in advancing British wealth and in how South Asian textiles are positioned. The research reconceptualizes the agency of these mediums and their modes of production by subverting their active role in colonial activities to translate embodied experiences of racial trauma and differencing in this diasporic population. Building upon second-wave feminist activist art practices this research reorientates the iterative processes linked to these mediums through disruptive, iterative actions to synthesize textiles with diverse quotidian materials. The research harnesses these actions as powerful tools to challenge colonial legacies that suppress marginalised perspectives and voices. Bringing together the textile language of contemporary fine art practice with performative durational works is highly significant as a space of agency. Crucial to this research is exposing the iterative nature of racial bias, articulating the progressive build-up of racial trauma, investigating the ramifications of everyday racism, and differencing on identity in this marginalised community. This research thinks with Audre Lorde and Luce Irigaray’s theories of difference to build a new theory of difference through a materially driven fine art practice.
Effect of Community Dance on the Social Health of the Elders: Case Study in Tendo, Japan View Digital Media
Poster Session Kaoru Yamada, Kanako Sasaki
Community dance is a project that has spread throughout the UK since the 1990s, trying to incorporate and unfold diversed people in society, including immigrants, disabilities, elders, homeless people, and juvenile delinquents. delinquents. Community dance is defined as an activity to stimulate local community by using the power of dance. It also applies to various fields such as education, health, and welfare. For this research, we held the workshop of practicing community dance for local elders, aiming to improve their social health at Tendo City in Yamagata Perfecture. In Japan, community dance for children and people with disabilities has been widespreading, but few for the elders. From the perspective of community health care, physical activity and interaction with others are important for the elders. During the workshop, the participants made various expressions and movements freely, which were brought out by listening to instrumental music and some tools that reminiscent of old local festivals dance. There were 33 participants, the average age was 75.6 years, and 90% were women. From the interviews afterwards, participants said, "I moved a lot," "I laughed more than usual," "I talked a lot with other people," and "I felt fine." Community dance is not a typical health promotion exercise for the elders. This dance workshop provided the elders with more opportunities to actively engaged in exercise, which made them feel physically competent and appreciated interaction with others. Community dance workshop could contributed to the improvement of social health.
Sign and Narrative in Romanian Textile Arts View Digital Media
Poster Session Marlena Pop
The Romanian textile arts of the twentieth century balanced through artistic expression between realism and innovation, between iconicity and plastic symbolism. One of the most interesting hypostases of visual semiotics observed in this field is the biunivocal state between sign and narrative in the same plastic work, the condition of iconic sign of the narrative or narrativity of the frieze of symbolic signs. At the same time, the openness to innovation, specific to the twenty-first century, brings into question the major changes in the message through plastic language. The paper presents the comparative analysis of two Romanian monumental works, in the art of haute-lisse tapestry and the observation of the dreamlike narrative in tapestry as an artistic vector of environmental design. In the research of the current student experience, the results of the scientific approach will highlight the modern approach of the analysis of the narrativity of symbolic signs, compared to the iconic semantics of the narratives of the experiments of the young generation of textile artists. The dialogue of semantic values in the Romanian tapestry between two generations of artists can be a story of a manifest meaning and attitude for a change of artistic paradigm.
Textile Memories: Weaving Transnational Connections through Local Contemporary Art Interventions View Digital Media
Poster Session Giulia Priori
The Shirt Factory Project (2013) by Irish artist Rita Duffy and Silken Dreams (2012) by Japanese artist Ishiuchi will be scrutinised in order to consider the potential mnemonic role of the interplay between contemporary art and local heritage. The objective is to explore the potential of contemporary textile artistic interventions within local textile industrial heritage to act as a vehicle to highlight local women’s counter-memories of post-conflict trauma globally. Thus developing an unprecedented transnational connection between Duffy and Ishiuchi, to provide an interpretation of the role that contemporary textile art, in connection with built heritage, can have in subverting local and national heritage discourses on post-war trauma. Employing an interdisciplinary approach, which aims to collate the fields of global art histories, and those of heritage and memory studies. The global connections between Duffy’s and Ishiuchi’s locally situated artworks will be explored through the methodological lens of transnational feminism. This entails drawing a parallel between Duffy’s multimedia installations and Ishiuchi’s photographic series, through visual analysis and site analysis. Resulting in the unearthing of an unexplored ‘bridge’ between Duffy and Ishiuchi, and their approach to textiles and art as modes of representing their local communities’ post-conflict trauma globally. In conclusion, this interdisciplinary, transnational scrutiny of Duffy’s and Ishiuchi’s artworks could provide a framework to further investigate the ways in which contemporary visual representations of textile heritage can act as a tool to disrupt local and national heritage narratives by engaging with local gendered counter-memories in order to highlight them globally.
The Internet as a Living Art Gallery: An Example of Polish Socially Engaged Internet Creativity View Digital Media
Poster Session Magda Górska
Global Web, focused on lively interaction with the user and his direct participation in the creation of internet culture has resulted in a dynamic development of grassroots unprofessional artistic practices based on new technologies. The vast majority of them can be viewed on the most popular social networks such as Facebook, Youtube, Twitter and Twitch. Increasingly a greater number of analyzes of these activities indicates not only their culture-forming potential, but also aesthetic. It is an important source of references also for creative circles, which basically assumed the role of a netnographer from the very beginning of the Internet's mass empowerment. During my study, I draw attention to the growing assimilation of today's Internet artists with the environment of Internet users. At the same time - in my opinion, more and more interesting from the perspective of new media aesthetics, artistic practices of non-professional Internet creators. I base my observations on the Polish network environment, for which the network is an excellent field for free commenting on current socio-political problems in the country. I traverse the Internet like a modern art gallery offering its viewers a lively and extremely dynamic exhibition of socially engaged art. An exhibition where both the activities of professional and non-professional artists interact in an egalitarian and heterogeneous way.
