Publisher: CITAR   (Total: 1 journals)   [Sort alphabetically]

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J. of Science and Technology of the Arts     Open Access   (Followers: 2, SJR: 0.114, CiteScore: 0)
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Journal of Science and Technology of the Arts
Journal Prestige (SJR): 0.114
Number of Followers: 2  

  This is an Open Access Journal Open Access journal
ISSN (Print) 1646-9798
Published by CITAR Homepage  [1 journal]
  • Editorial v14 n1

    • Authors: Daniel Ribas, Maria Coutinho, Carlos Natálio, João Pedro Amorim
      Pages: 5 - 7
      Abstract: The first issue of 2022 opens to the potentially of this journal to become interdisciplinary and to research within the cross fields of art and technology (although we always know that there is no art research without the technological means to produce it). Nevertheless, we want to highlight how this issue comes from the openness of the field, including, in the Articles sections, three texts that try to understand different domains of this relation, namely: virtual reality, glitch art, and artificial intelligence.
      PubDate: 2022-04-30
      DOI: 10.34632/jsta.2022.11465
      Issue No: Vol. 14, No. 1 (2022)
  • Analysis of the narrative communication characteristics of virtual reality
           experiences: meaning-making components of the immersive story

    • Authors: Ernesto Taborda-Hernández, José Luis Rubio-Tamayo, Mario Rajas Fernández
      Pages: 9 - 31
      Abstract: Virtual reality is a technology and a communication medium which has dramatically evolved in the last decades. Undoubtedly, the medium has developed its own narrative dynamics and features, due to the possibility of interaction and the ability to allow the spectator/user to focus on different action levels. In this research, we describe, from a literature review, relevant components of narrative features in virtual reality. Secondly, we analyse a sample of 360 º virtual reality linear experiences, or cinematic virtual reality (CVA) and determine the possibilities regarding narrative and the features that characterise it, in order to contribute to establishing rules for creating 360º immersive content. The results show how the main immersive experiences are made up, what type of content is valuable to narrate these formats and what the narrative strategies of these formats are like. The current research aims to develop a model to apply and optimize parameters of virtual reality and immersive 360º content in fields such as research in education and its application.
      PubDate: 2022-04-30
      DOI: 10.34632/jsta.2022.10055
      Issue No: Vol. 14, No. 1 (2022)
  • Image philosophy for reading glitch art

    • Authors: Carlos Rosa, Rodrigo Morais, Inês Borges
      Pages: 32 - 48
      Abstract: This article investigates to what extent it is possible to establish an image philosophy to read digital images, in this specific case, applying the concepts in the areas of glitch art. For this, we sought, through a systematic literature review, general definitions about the terms of the image and developed a possible approach for reading digital images that have intrusive aesthetic data from the operation of technical apparatus. The study takes place as a theoretical reflection that does not aim to “solve” all the questions about reading images, but it can bring up the possibility of interpreting the images that inhabit the digital universe.
      PubDate: 2022-04-30
      DOI: 10.34632/jsta.2022.10092
      Issue No: Vol. 14, No. 1 (2022)
  • ARTificial intelligence raters. Neural networks for rating pictorial

    • Authors: Thomas Gengenbach, Kerstin Schoch
      Pages: 49 - 71
      Abstract: Previous studies on classification of fine art show that features of paintings can be captured and categorized using machine learning approaches. This progress can also benefit art psychology by facilitating data collection on artworks without the need to recruit experts as raters. In this study a machine learning approach is used to predict the ratings of RizbA, a Rating instrument for two-dimensional pictorial works. Based on a pre-trained model, the algorithm was fine-tuned via transfer learning on 886 pictorial works by contemporary professional artists and non-professionals. As quality criterion, artificial intelligence raters (ART) are compared with generic raters (GR) created from the real human expert raters, using error rate and mean squared error (MSE). ART ratings have been found to have the same error range as randomly chosen human ratings. Therefore, they can be seen as equivalent to real human expert raters for almost all items in RizbA. Further training with more data will close the gap to the human raters on all items.
      PubDate: 2022-04-30
      DOI: 10.34632/jsta.2022.10196
      Issue No: Vol. 14, No. 1 (2022)
  • Movement, framework, cut

    • Authors: Nuno Dias
      Pages: 73 - 84
      Abstract: In the three short films Cinema, The Keeper and Flow, the director Rodrigo Areias utilises the cinematographic medium to establish a seamless relation between character and environment. All three regard different themes, but share remarkable similarities in style, concept and visual language, pointing to the concise work of the director. This essay, Movement, Framework, Cut, explores some techniques of video editing to analyse exactly how Areias masters the filmic landscape, through the movement of characters and the framework of the shots. Cutting between the three short films, and cutting the shots themselves, allows for a new perspective on how the various elements of the films flow organically together.
      PubDate: 2022-04-30
      DOI: 10.34632/jsta.2022.9748
      Issue No: Vol. 14, No. 1 (2022)
  • Memory landscapes in Rodrigo Areias’ films. After an audiovisual
           essay by Nuno Dias

    • Authors: Raquel Rato
      Pages: 85 - 91
      Abstract: This essay aims at an analysis and deconstruction of Movement, Framework, Cut (2019) an audiovisual essay by Nuno Dias, that edits shots from Corrente (2008), Cinema (2014) and O Guardador (2015), three short films directed by Rodrigo Areias. Dias looks for intersections in these works. What draws them together' What is the role of landscape in these films' What is more important in cinema: what one sees or what is hidden' The aesthetics of image and sound as ways to cut across the incommensurable. Characters-being emerge in shots as metaphors of memory. The character-being in Corrente floats the waters of the river. In O Guardador, the character-being floats, with a lantern, the museum rooms, between objects of the past. In Cinema, the character-being carries over his shoulders the weight of memory in abandoned old cans that hide fantasies in a “cinematic bunker”. It is inaccessible to the common mortal, but that he is allowed to spy.
      PubDate: 2022-04-30
      DOI: 10.34632/jsta.2022.11377
      Issue No: Vol. 14, No. 1 (2022)
  • In search of the Lisbon Lazaretto

    • Authors: Madalena Miranda
      Pages: 92 - 104
      Abstract: In the moment of the first lockdown, in double confinement - of the social and the self - a pursuit took place. With Malabou’s words and a camera, searching for the Lazaretto was a process to derive and rediscover a place and a moment. A form, as film, as essay.  In the open air.
      PubDate: 2022-04-30
      DOI: 10.34632/jsta.2022.11039
      Issue No: Vol. 14, No. 1 (2022)
  • Against the triumph of appearance: scattered notes on Madalena Miranda‚Äôs
           "In search of the Lisbon Lazaretto" and other isolations

    • Authors: Caterina Cucinotta
      Pages: 105 - 109
      Abstract: Madalena Miranda's journey to the lazaretto in Lisbon is a metaphor for a journey into the interior of everyone who has experienced the covid-19 pandemic. Just as the last pandemic marked our lives forever, other pandemics can be found during other times and in other societies. In this short text, we cross the video with other stories created by the connection between moving images and the direct sensations they create. We explore Rousseau's ethics, the savage in Robinson Crusoe and Senator La Ciura, and Boccaccio's concept of community. All the stories take us back to a moral and ethical problem that is linked to the concept of “appearance”.
      PubDate: 2022-04-30
      DOI: 10.34632/jsta.2022.11379
      Issue No: Vol. 14, No. 1 (2022)
  • How to land on Earth. From critical zones to the terrestrial

    • Authors: Constança Babo
      Pages: 111 - 115
      Abstract: The oeuvre Critical Zones. The Science and Politics of Landing on Earth addresses the climate crisis mainly through the few-kilometers thick layer of critical zones that surrounds planet Earth, within the scope of New Climate Regimes. It proposes the redefinition of concepts such as Gaia, and suggests new ones, namely Terrestrial. The book is the product of a collective endeavor from scientists, artists, philosophers, historians, and activists, arguing that areas, disciplines and all living beings are connected. While associated with the ongoing scientific project Critical Zone Observatories, it was developed and launched during the exhibition Critical Zones - Observatories for Earthly Politics, in May 2020 at ZKM Karlsruhe, and edited by its two main curators, Bruno Latour and Peter Weibel. This review will introduce an impressively complete work, whose reading is as stimulating as necessary, and which contributes remarkably to what will be the most important debate of our century.
      PubDate: 2022-04-30
      DOI: 10.34632/jsta.2022.11276
      Issue No: Vol. 14, No. 1 (2022)
School of Mathematical and Computer Sciences
Heriot-Watt University
Edinburgh, EH14 4AS, UK
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