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      Coded Communication: Digital Senses and Aesthetics, Merging Art and Life

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      Electronic Visualisation and the Arts (EVA 2017) (EVA)

      Electronic Visualisation and the Arts

      11 – 13 July 2017

      Digital aesthetics, Digital art, Digital culture, Digital humanities, Digitalism

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          There is no author summary for this article yet. Authors can add summaries to their articles on ScienceOpen to make them more accessible to a non-specialist audience.

          Abstract

          This one-day symposium framed several central questions in digital practice and digital theory, examining historical and contemporary themes across art, science and the humanities. Art has been transformed by the digital age, changing the tools and processes of practice, moving to digital expressions and digital seeing. These changes are balanced by the recurrent questions of the human condition, and of the ways that art both defines and transcends its time. In what ways does digital art address the social, cultural and historical debates of this time, without being simply determined by its technologies? And how can emergent disciplines around digital aesthetics and the digital humanities converse with the work of artists, innovators and technologists? In what ways does the new digital palette afforded by contemporary media open new ways of seeing, sensing and understanding the world? The symposium organisers invited a range of artists and theorists to discuss these themes, framed in the broader contexts of electronic visualisation and digital art of the EVA London conference.

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          Digitalism: The New Realism?

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            Curating Digital Life and Culture: Art and information

            The space between digital life and real life continues to fade and nowhere is this more apparent than in arts and cultural contexts. Facilitated by digital capture and curation, social media, the network, Internet, and the web, these forces combine to empower artists to be digital curators of their own work, giving voice and narration to their artistic expression. In the paper entitled Digitalism: the New Realism, the authors focus on how digital tools and technology have changed ways of doing, knowing, and being, while here we look at how today’s digital landscape is changing ways of artistic expression, narration, communication, and human interaction. The growing use of digital tools and technology in the arts and culture is dramatically transforming traditional curatorial practice and by extension archival practice, so that we are moving from a gatekeeping model to an open model steeped in digital relationships across global networks and the Internet. As we immerse ourselves in the digital world, where anyone with a smartphone can be a digital curator and marshal a range of Internet services, such as Instagram, Pinterest, Twitter, Facebook, YouTube, and more specifically for example Behance (for online portfolios), artists are enabled to freely engage and interact with their audience using to their advantage crowdsourcing, “likes”, chat, blogs, games and email. Emerging artists are particularly expert digitally and are able to curate their life and work directly, living naturally between physical and digital states. To demonstrate this, our study presents specific examples of how artists and GLAM (Galleries, Libraries, Archives, and Museum) institutions are adapting to new digital ways of curating collections and conveying meaning. Additionally, we show how notions of what constitutes artistic expression are evolving as art traverses digital media boundaries, especially in terms of visual and textual media. Importantly, as life in the 21st century plays out on the digital stage of the Internet, artists and GLAM institutions find themselves more than ever working at the intersection of art and information which is leading to new and innovative ways of curating contemporary art that are expressive of artistic vision and digital aesthetics, while conveying social and political meaning capable of influencing and impacting our lives.
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              Life in Code and Digits: When Shannon met Turing

              Claude Shannon (1916–2001) is regarded as the father of information theory. Alan Turing (1912–1954) is known as the father of computer science. In the year 1943, Shannon and Turing were both at Bell Labs in New York City, although working on different projects. They had discussions together, including about Turing’s “Universal Machine,” a type of computational brain. Turing seems quite surprised that in a sea of code and computers, Shannon envisioned the arts and culture as an integral part of the digital revolution – a digital DNA of sorts. What was dreamlike in 1943, is today a reality, as digital representation of all media, accounts for millions of “cultural things” and massive music collections. The early connections that Shannon made between the arts, information, and computing, intuit the future that we are experiencing today. This paper considers foundational aspects of the digital revolution, the current state, and the possible future. It examines how digital life is increasingly becoming part of real life for more and more people around the world, especially with respect to the arts, culture, and heritage.
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                Author and article information

                Contributors
                Conference
                July 2017
                July 2017
                : 1-8
                Affiliations
                London South Bank University

                School of Engineering

                London, UK

                http://www.jpbowen.com
                Pratt Institute

                School of Information

                New York, USA

                http://mysite.pratt.edu/~giannini/
                Royal College of Art

                School of Humanities

                London, UK

                http://www.garethpolmeer.com
                10.14236/ewic/EVA2017.1
                © Bowen et al. Published by BCS Learning and Development Ltd. Proceedings of EVA London 2017, UK

                This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

                Electronic Visualisation and the Arts (EVA 2017)
                EVA
                London, UK
                11 – 13 July 2017
                Electronic Workshops in Computing (eWiC)
                Electronic Visualisation and the Arts
                Product
                Product Information: 1477-9358 BCS Learning & Development
                Self URI (journal page): https://ewic.bcs.org/
                Categories
                Electronic Workshops in Computing

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