Research Catalogue

an international database for artistic research

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  Seanergy - Digital Underwater Art Gallery (2024) author(s): Michal Lovecky published in: Stockholm University of the Arts (SKH)
  Seanergy Underwater Art Gallery is a digital space that integrates ocean-themed art with technology. It focuses on the co-design of digital experiences with raw nature to foster a genuine connection with the marine environment. This research is my starting point for exploring strategies for incorporating nature into the design process of digital experiences, aiming to enhance engagement and promote environmental stewardship.
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  Nothingness in the digital Space (2024) author(s): Valerie Messini published in: University of Applied Arts Vienna
  Valerie Messini (Peter Weibel Research Institute for Digital Culture) chooses the phenomenon of emptiness in art as a point of departure for her contribution "Nothingness in the digital Space" and presents her artistic projects operating with different technologies to approach the phenomenon of emptiness in connection with corporeality in digital space. "1-NO1-100.000" uses dance movement to explore emptiness in virtual space, and "Deep Empty - Wide Open" uses deep learning to question the extent to which horizon lines function as mental voids.
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  Amazing Patterns ▓▓█▋▋◣◢▋ (2023) author(s): Rozita Sophia Fogelman published in: Research Catalogue
  Using ASCII and Unicode 8 and 16-Bit systems, I create patterns in real-time online on my ASCII Digital Design Museum page: https://www.facebook.com/Museum/ ▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋
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  Ephemer(e)ality Capture: Glitching The Cloud through Photogrammetry (2021) author(s): Tom Milnes published in: Journal for Artistic Research
  Ephemer(e)ality Capture: Glitch Practices in Photogrammetry details artistic practice using cloud-based photogrammetry that actively invokes glitches through disturbance of the imaging algorithm by utilising optical phenomena. Reflective, transparent, specular and patterned/repetitive objects were used to confuse the imaging algorithm to produce spikes, holes and glitches in the mesh and textures of the 3D objects produced. The research tests the limits of photogrammetry in an effort toward new image-making methods. It builds upon the research of Hito Steyerl’s Ripping Reality: Blind spots and wrecked data in 3D in which she outlines the errors of 3D scanning media in her work and contextualises amongst thought surrounding the objectivity of photographic media. This research explores the potential gaps in Steyerl’s approach, building upon investigations into 3D scanning’s ‘constructed imagery’ through methods which explore ‘fractional space’ more thoroughly through glitches caused by capturing of optical phenomena. Through practice, the research investigates the possibilities of conducting a ‘media archaeological’ investigation of cloud-based technology using methods akin to ‘Thinkering’(Huhtamo) and ‘Zombie Media’ (Hertz & Parikka). These investigations sought to ‘hack’ technologies through focused technical adjustments or adaptations, centred on media that were ‘local’ or accessible to the artist - artists that have been able to open the machine’s hardware to change circuitry or to access and change the software code. With cloud-based media’s materiality being inaccessible, the investigation utilised techniques which actively disrupt and confuse the image-making process; a form of ‘digital détournement’ which develops techniques which reference Guy Debord’s approach to disrupt the powers of image-making culture. The research is discussed with regards to similar approaches in contemporary glitch practices and aesthetics. Prior (2013) posits that glitch practices form a ‘paralogy’ of the Lyotardian notion of ‘performativity’ of the contemporary techno-economic conditions; acknowledging that paralogy is a method that contributes important critical discourses to culture and research. Previously, ‘local’ glitch practices focused on the internal affordances and functionality of the machine, whereas this research demonstrates practice which is focused externally – through the optical nature of images selected to disrupt the algorithm in photogrammetry rather than through ‘hacking’ the algorithm directly. Through these investigations and a discussion of their methodology, the research encourages a critical reflexivity of the artist/user through use of a dynamic methodology. This is to reflect the issues of technological flux which sees imaging algorithms being updated and refined, forcing techniques and practices into obsolescence.
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  Frozen Moments in Motion – An Artistic Research on Digital Comics (2019) author(s): Fredrik Rysjedal connected to: Norwegian Artistic Research Programme published in: Faculty of Fine Art, Music and Design, University of Bergen
  What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
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  ALMAT - Iteration JR (last edited: 2023) author(s): Hanns Holger Rutz, David Pirrò, Jonathan Reus, Daniele Pozzi This exposition is in progress and its share status is: visible to all.
  Discourse and materials pertaining to the experimental iteration with Jonathan Reus, during the Algorithms that Matter (Almat) artistic research project.
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  Imperfect Reconstruction (last edited: 2023) author(s): Hanns Holger Rutz, David Pirrò This exposition is in progress and its share status is: visible to all.
  The image of coding/decoding often includes the ideal of perfect reconstruction. Something real—an experience, a thought, a movement—can be transformed into a finite set of elements that may then be transported and unfolded as an evocation of that original experience or movement. Something is communicated (duplicated and made equal). It bothers us when the reconstruction is not complete, when the distance between the pairs of conceptualisation/perception, intention/interpretation… is not annulled: somebody did not understand. What we are interested in for this exhibition are those distances and gaps that produce imperfection, understood as the resistance of thoughts and movements to become determinate; understood as their durational and iterative configuration. Located at the intersection of computer art and sound art, we are primarily interested in algorithmic movements. In algorithmic practices pieces of code assume the production of forms and establish mutual writing processes between human and computer. Imperfect Reconstruction is an exhibition project for 2016. This RC entry serves to trace its process.
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• Where we emerge - Ars Electronica 2021 (last edited: 2021) author(s): Mariana Mejia Garcia This exposition is in progress and its share status is: visible to all.
  The whole world experienced the struggles of life in confinement and how it boosted our relationship with the digital world. This collective experience marked a watershed in the way we experience life. WHERE WE EMERGE is a pop-up exhibition in which students of the Art & Technology Studies department at the School of the Art Institute of Chicago reflect on this change in our society. Through installations, media work and 3D sculptures, the exhibition responds to this close relationship that has emerged with the digital world and how we deal with it while questioning its benefits and shortfalls. It is an invitation to think about our faculty to take action and claim our right to participate in shaping the world we want for our future. The LeRoy Neiman Center at SAIC will be hosting the exhibition for three weeks where people will be able to engage with the artwork on site. WHERE WE EMERGE will also have an online presence, where documentation from the physical show along with work from additional artists will be available for international audiences.
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• The mass-reproduction and dissemination of digital images in the age of Covid-19 (last edited: 2020) author(s): Mengxuan Zhao This exposition is in progress and its share status is: visible to all.
  The pandemic has dragged us all into a world of social distancing and isolation. The physical absence of art is substituted by the virtual experience online. The mass-reproduction and mass-consumption of online images arrived at an unprecedented scale, which requires us to reflect on the question of originality, adaptability and dissemination of art. Many museums launched their online touring programs as well as art organizations' educational and exhibition projects on the internet. This research will discuss the impact of digital art especially in the time of the pandemic.
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