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Much as art history is in the process of being transformed by new information communication technologies, often in ways that are either disavowed or resisted, art practice is also being changed by those same technologies. One of the most obvious symptoms of this change is the increasing numbers of artists working in universities, and having their work facilitated and supported by the funding and infrastructural resources that such institutions offer. This new paradigm of art as research is likely to have a profound effect on how we understand the role of the artist and of art practice in society. In this unique book, artists, art historians, art theorists and curators of new media reflect on the idea of art as research and how it has changed practice. Intrinsic to the volume is an investigation of the advances in creative practice made possible via artists engaging directly with technology or via collaborative partnerships between practitioners and technological experts, ranging through a broad spectrum of advanced methods from robotics through rapid prototyping to the biological sciences.
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This book explains how designing, playing and modifying computer games, and understanding the theory behind them, can strengthen the area of digital humanities. This book aims to help digital humanities scholars understand both the issues and also advantages of game design, as well as encouraging them to extend the field of computer game studies, particularly in their teaching and research in the field of virtual heritage. By looking at re-occurring issues in the design, playtesting and interface of serious games and game-based learning for cultural heritage and interactive history, this book highlights the importance of visualisation and self-learning in game studies and how this can intersect with digital humanities. It also asks whether such theoretical concepts can be applied to practical learning situations.
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Il volume tratta di un certo cinema popolare e di genere, prescindendo da qualsiasi considerazione relativa al suo valore estetico, nella convinzione che abbia saputo mettere in scena processi e cambiamenti che hanno coinvolto la società italiana in un periodo cruciale (e culturalmente traumatico) come quello del miracolo economico. La questione delle identità di genere, la "lotta di classe" più o meno esplicita che passa attraverso l'esercizio della violenza simbolica in tutte le sue forme, il difficile dialogo intergenerazionale sono solo alcuni dei fenomeni complessi e ambivalenti che caratterizzano anni in cui il cinema rimane il core business dell'industria culturale. Con molto meno "talento" e consapevolezza rispetto ai grandi autori, ma spesso con altrettanta intelligenza e precisione, figure come quelle incarnate nei vari Lando Buzzanca o Pippo Franco, Django o Terence Hill e Bud Spencer, Ercole, Sandokan o Fantozzi hanno saputo fornire specchi fedeli e deformanti al contempo, sui quali modellare - con effetti positivi o negativi, a seconda dei casi o dei punti di vista - la forma dei nuovi stili di vita che il benessere aveva reso finalmente disponibili.
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This unique book presents a broad multi-disciplinary examination of early temple architecture in Asia, written by two experts in digital reconstruction and the history and theory of Asian architecture. The authors examine the archetypes of Early Brahmanic, Hindu and Buddhist temple architecture from their origins in north western India to their subsequent spread and adaptation eastwards into Southeast Asia. While the epic monuments of Asia are well known, much less is known about the connections between their building traditions, especially the common themes and mutual influences in the early architecture of Java, Cambodia and Champa. While others have made significant historiographic connections between these temple building traditions, this book unravels, for the first time, the specifically compositional and architectural linkages along the trading routes of South and Southeast Asia. Through digital reconstruction and recovery of three dimensional temple forms, the authors have developed a digital dataset of early Indian antecedents, tested new technologies for the acquisition of built heritage and developed new methods for comparative analysis of built form geometry
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Nel 1895 i fratelli Lumière filmano l'uscita degli operai dalla loro fabbrica a Lione. Il cinema inizia dal lavoro. Negli ultimi anni è tornato a descriverlo: nel Duemila, e in particolare dal 2008 con lo scoppio della crisi economica, i registi italiani, europei e americani ricominciano a riflettere su questo grande tema. I licenziamenti, la disoccupazione, la difficoltà di trovare un nuovo impiego. Le figure deboli come le donne e i precari. Il libro è una mappa del cinema sul lavoro nei nostri anni: da Ken Loach a Laurent Cantet, dai fratelli Dardenne a Lars von Trier, fa il punto su come i registi di oggi trattano il lavoro e il lavoro che non c'è. Da film manifesto come Full Monty, alle provocazioni estreme come Il grande capo, passando per la strada italiana di Smetto quando voglio. In sei capitoli divisi per temi "La dissolvenza del lavoro" analizza oltre cinquanta titoli, decifrando lo stile degli autori: dal realismo sociale di Loach al cinema hollywoodiano de Il diavolo veste Prada. Dalla commedia alla tragedia, dal lieto fine al pugno nello stomaco. Una bussola per orientarsi nel cinema del nostro tempo difficile: colpito dalla disoccupazione, ma illuminato da grandi opere. I capitoli sono seguiti da una scheda tematica a cura di uno studioso dell'argomento.
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In this unique book the author explores the history of pioneering computer art and its contribution to art history by way of examining Ernest Edmonds’ art from the late 1960s to the present day. Edmonds’ inventions of new concepts, tools and forms of art, along with his close involvement with the communities of computer artists, constructive artists and computer technologists, provides the context for discussion of the origins and implications of the relationship between art and technology. Drawing on interviews with Edmonds and primary research in archives of his work, the book offers a new contribution to the history of the development of digital art and places Edmonds’ work in the context of contemporary art history.
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