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      Tackle Climate Change Through Art: A case study

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      Proceedings of EVA London 2022 (EVA 2022)
      Use of new and emerging technologies in Digital Art, Data, Scientific and Creative Visualisation, Digitally Enhanced Reality and Everyware, 2D and 3D Imaging, Display and Printing, Mobile Applications, Museums and Collections, Music, Performing arts, and Technologies, Open Source and Technologies, Preservation of Digital Visual Culture, Virtual Cultural Heritage, Ethical Issues, Historical Issues, Digital Culture, Artificial Intelligence, NFTs
      4–8 July 2022
      Datascape, Creative visualisation, Anthropocene, Climate Change, Visual music, Digital art, Music
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            Abstract

            This paper describes the creative process behind the creation of an audiovisual installation. Titled The Great Acceleration (2021), this installation is built upon scientific data simulating the retreat of the Ross Ice Shelf from 2015 to 2100. The dataset is the result of a computer simulation based on a scientific model provided by researchers from the Laboratory for Sciences of Climate and Environment (LSCE). The paper details the methodology used to offer a sensitive experience of climate change through the analysis of a large amount of data and the creation of generative audiovisual compositions. It describes the artistic approach and how the dataset related to the Ross Ice Shelf activity has been processed in order to create visual compositions and shape sounds. The paper also explains the relationship between these images and sounds and how they react to external outputs such as the presence and movement of visitors within an exhibition space.

            Content

            Author and article information

            Contributors
            Conference
            July 2022
            July 2022
            : 13-19
            Affiliations
            [0001]LISAA, Gustave Eiffel University

            Bâtiment Alexandra David-Neel

            2 All. du Promontoire

            93160 Noisy-le-Grand, France
            [0002]CHCSC, University of Versailles

            Saint-Quentin-en-Yvelines

            47 Boulevard Vauban

            78280 Guyancourt, France
            Article
            10.14236/ewic/EVA2022.3
            7a087964-6a64-487a-b68e-851322694e90
            © Bartolo et al. Published by BCS Learning & Development Ltd. Proceedings of EVA London 2022, 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/

            Proceedings of EVA London 2022
            EVA 2022
            London
            4–8 July 2022
            Electronic Workshops in Computing (eWiC)
            Use of new and emerging technologies in Digital Art, Data, Scientific and Creative Visualisation, Digitally Enhanced Reality and Everyware, 2D and 3D Imaging, Display and Printing, Mobile Applications, Museums and Collections, Music, Performing arts, and Technologies, Open Source and Technologies, Preservation of Digital Visual Culture, Virtual Cultural Heritage, Ethical Issues, Historical Issues, Digital Culture, Artificial Intelligence, NFTs
            History
            Product

            1477-9358 BCS Learning & Development

            Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2022.3
            Self URI (journal page): https://ewic.bcs.org/
            Categories
            Electronic Workshops in Computing

            Applied computer science,Computer science,Security & Cryptology,Graphics & Multimedia design,General computer science,Human-computer-interaction
            Visual music,Creative visualisation,Digital art,Anthropocene,Climate Change,Music,Datascape

            REFERENCES

            1. and (2020) Elpénor : de la forme fermée à la forme déstructurée. In and (eds). Les mots et les sons: les mots tressés par les sons et les images, Éditions Delatour, Paris.

            2. (2015) Face à Gaïa: huit conférences sur le nouveau régime climatique. Les Empêcheurs de penser en rond / La Découverte, Paris.

            3. (2019) Performative Meshes: Musical Expression in Visuals. ARTECH 2019: Proceedings of the 9th international conference on digital and interactive arts. Braga, Portugal, October 23–25, 309–315. ACM, New York.

            4. and (2004) Speculative Computing: Aesthetic Provocations in Humanities Computing. In et ale (eds). A Companion to Digital Humanities, Blackwell, Oxford.

            5. IanniX. https://www.iannix.org/ (retrieved 9 March 2022).

            6. La Diagonale Paris-Saclay. https://www.ladiagonale-paris-saclay.fr/ (retrieved 9 March 2022).

            7. Laboratoire des sciences du climat et de l'environnement (LSCE). https://www.lsce.ipsl.fr/ (retrieved 9 March 2022).

            8. , and (2018) The GRISLI ice sheet model (version 2.0): calibration and validation for multi-millennial changes of the Antarctic ice sheet. Geoscientific Model Development, 11, pp. 5003–5025.

            9. (2020) Penser comme un iceberg. Actes Sud, Arles.

            10. (2017) Composing with IanniX. xCoAx 2017: Proceedings of the 5th International Conference on Computation, Communication, Aesthetics and X. Lisbon, Portugal, July 6–7, 150-161. University of Lisbon, Lisbon.

            11. , and (2015) The trajectory of the Anthropocene: The Great Acceleration. The Anthropocene Review, 2, pp. 81–98.

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