Ambivalent Interplay

Ambivalent Interplay

Heejoo Kim (Columbia College Chicago, USA)
DOI: 10.4018/978-1-60566-352-4.ch009
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The human vision, the most ubiquitous receptor of the human senses, has been the prevailing sensory organ for a noticeable manifestation of visual arts. Nevertheless, in the aspect of new technology art, the embodied experience through senses dismantled and amalgamated in hybrid aspects. Explicitly, new media artists perceive that interactive technology is evolving rapidly in such a short period of time. Rather than engaging in technology more interactively, however, it seems they are scrutinizing the subsequent progression of the phenomenon in interactive art. Artistic experiments have predominantly been transferred through the human sensorium in interlaced approaches: touch, sight, smell and hearing have synesthetic qualities in their interactive connections in between works and viewers. Recently digital art performs in multi sensory forms of knowing and communicating. There are investigating perceptual and emotional mechanisms of involuntary synesthetic experiences. This artistic phenomenon is not only historically intriguing, but may also contribute to present synesthesia research. The functions and interrelations of the synesthetic approaches in new media arts and neurological researches are discussed separately.
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Early History Of Synesthetic Experimentation In Art

In the mid-nineteenth century synesthetic experiments had been placed in art movements. Those movements were frequently shown in the writings of composers and visual artists. The device, such as “clavecin oculaire” which produced color of lighting based on music tone, was invented by French scientist, Jesuit Caste in the eighteenth century. Other inventors like Jameson, Kastner, Bainbridge Bishop and Rimington researched those devices. In 1893, Rimington developed and named his device “color-organ”, and had a successful concert playing Wagner, Chopin, Bach and Dvorak with colors corresponding to their music (Peacock et al., 1998, p. 397-406).

Alexander Scriabin, a Russian composer and pianist started experiments in synesthesia in the first decades of the twentieth century with Wassily Kandinsky, a Russian painter, printmaker and art theorist. At that time, concerts with color lightings were sensational events. Scriabin was intrigued by the development of idiosyncratic tonal language and a poetic, philosophical, and aesthetic vision. On the other side, Kandinsky developed his paintings based on hearing tones and chords. Both, Scriabin and Kandinsky discovered and built up colored hearing in their early years. According to Scriabin, colors are often associated with tonality, and his quality and intensity of synesthesia did not always consistently exist. Whenever, he emotionally engaged with music more than usual, the synesthetic sensations of color would become intense. Not every single pieces of music would elicit synesthetic sensation. Some of classical music did not evoke his synesthesia. Therefore, attention has become drawn about his synesthesia by other researchers and became controversial. The major aim of his experiment with the auditory and visual perceptions explored the artistic potentials of the simultaneous playing of sound and colors.

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Editorial Advisory Board
Table of Contents
Gabriele Meiselwitz
James Braman, Giovanni Vincenti, Goran Trajkovski
James Braman, Giovanni Vincenti, Goran Trajkovski
Chapter 1
Adérito Fernandes Marcos, Pedro Branco, João Álvaro Carvalho
Art objects might be described as symbolic objects that aim at stimulating emotions. They reach us through our senses (visual, auditory, tactile, or... Sample PDF
The Computer Medium in Digital Art's Creative Process
Chapter 2
Salah Uddin Ahmed, Letizia Jaccheri, Guttorm Sindre, Anna Trifonova
The interaction between art and technology, especially computing technology, is an increasing trend in the recent years. The context of this... Sample PDF
Conceptual Framework for the Intersection of Software and Art
Chapter 3
Joseph William Pruitt
The purpose of this chapter is to define the roles of engineering and design within the product development cycle looking at both the scientific and... Sample PDF
The Design of Engineering
Chapter 4
Jim Bizzocchi, Belgacem Ben Youssef
The chapter describes the synergistic integration of distinct research and creation agendas, each firmly grounded in its own set of practices and... Sample PDF
Ambient Video, Slow-Motion, and Convergent Domains of Practice
Chapter 5
Ethan Ham
Randomness is a slippery term that conveys different meanings in different disciplines. In mathematics, an individual number is random when there is... Sample PDF
Randomness, Chance, & Art
Chapter 6
Holography: Re-Defined  (pages 103-112)
Martin Richardson, Paul Scattergood
When writing this chapter it became apparent that we were not only exponents of digital holography, but also the critics. This is a problem when it... Sample PDF
Holography: Re-Defined
Chapter 7
Lorenzo Picinali
What is the real potential of computer science when applied to music? It is possible to synthesize a “real” guitar using physical modelling... Sample PDF
3D Sound Simulation over Headphones
Chapter 8
Raphael DiLuzio
This is a guide for working with a visual art form using a digital time-based medium. This chapter will provide an overview of the necessary... Sample PDF
Broken Cinema: The Eye and Hand in a Time-Based Art
Chapter 9
Ambivalent Interplay  (pages 146-161)
Heejoo Kim
The human vision, the most ubiquitous receptor of the human senses, has been the prevailing sensory organ for a noticeable manifestation of visual... Sample PDF
Ambivalent Interplay
Chapter 10
Yueh Hsiu Giffen Cheng
The development of net art originates from the rising of net media generally. During the past two decades, Net art has overthrown the standards of... Sample PDF
The Aesthetics of Net dot Art
Chapter 11
Nicola Quinn, Annette Aboulafia
People have used tools for artistic expression for millennia. Relatively recent is the use of digital technology to afford the creation of art.... Sample PDF
A Graphics Tablet as a Fine Art Tool
Chapter 12
Greg J. Smith
This text seeks to contextualize the history of and discourse surrounding information visualization. It positions visualization in relation to... Sample PDF
Information Visualization and Interface Culture
Chapter 13
Benjamin David Robert Bogart
“Memory Association Machine” (also known as “Self-Other Organizing Structure #1”) is the first prototype in a series of site-specific responsive... Sample PDF
Memory Association Machine
Chapter 14
Stefano De Luca, Eugenia Benelli, Francesco Altarocca, Dario Dussoni
Designing good and sound architectural projects is a hard job. Generally these kinds of projects involve many stakeholders, everyone with his/her... Sample PDF
EVO-PARK: Designing Better Architecture Projects Using Participated and Interactive Genetic Algorithms
Chapter 15
Sergiy Rakov, Viktor Gorokh, Kirill Osenkov
The chapter discusses the possibilities modern IT opens for Mathematics and its applications to real life, in particular to Art – by an example of... Sample PDF
Mathematics, Computer Mathematical Systems, Creativity, Art
Chapter 16
Jim Barta, Ron Eglash
Students who may typically view mathematics as a sterile and disjointed subject are learning new skills and concepts using a suite of virtual design... Sample PDF
Teaching Artful Expressions of Mathematical Beauty: Virtually Creating Native American Beadwork and Rug Weaving
Chapter 17
Mia Kalish
One visualization in Diné philosophy is four small dots arranged in a circular sequence at 90°, 0°, 270°, and 180°. Each position is associated with... Sample PDF
Visual Analytics and Conceptual Blending Theory
Chapter 18
Lindsay Grace
Enculturation is the act of passing cultural ideologies from one person to the other. It is what breeds innovation instead of new creation. It is... Sample PDF
The Challenge of Enculturation on Art
Chapter 19
Lindsay Grace
Software is philosophical. Software is designed by people who have been influenced by a specific understanding of the way objects, people and... Sample PDF
The Philosophies of Software
Chapter 20
Technological Social-ism  (pages 343-374)
Judson Wright
Culture is a byproduct of our brains. Moreover, we’ll look at ways culture also employs ritual (from shamanistic practices to grocery shopping) to... Sample PDF
Technological Social-ism
Chapter 21
Stephen A. Schrum
As creative people inhabit virtual worlds, they bring their ideas for art and performance with them into these brave new worlds. While at first... Sample PDF
Theatre in Second Life® Holds the VR Mirror up to Nature
Chapter 22
Machinima in Second Life  (pages 396-416)
Stephany Filimon
This chapter provides a brief history of machinima, films created by computer users within virtual worlds, and focuses on machinima produced within... Sample PDF
Machinima in Second Life
Chapter 23
Andrew Jinman
Massively multiplayer online role-playing games (MMORPGs) are becoming an increasingly popular recreational activity for social engagement.... Sample PDF
Player Motivation and Understanding Game Dynamics
About the Contributors