Hasil untuk "Art"

Hany Elgala, R. Mesleh, H. Haas

Soong Heng, S. Zhang, A. Tan et al.

Lawrence Lessig

E. Kenawy, S. D. Worley, R. Broughton

Mayfair M Yang

Y. Kalfoglou, Marco Schorlemmer

Ontology mapping is seen as a solution provider in today's landscape of ontology research. As the number of ontologies that are made publicly available and accessible on the Web increases steadily, so does the need for applications to use them. A single ontology is no longer enough to support the tasks envisaged by a distributed environment like the Semantic Web. Multiple ontologies need to be accessed from several applications. Mapping could provide a common layer from which several ontologies could be accessed and hence could exchange information in semantically sound manners. Developing such mappings has been the focus of a variety of works originating from diverse communities over a number of years. In this article we comprehensively review and present these works. We also provide insights on the pragmatics of ontology mapping and elaborate on a theoretical approach for defining ontology mapping.

E. Clarke, Jeannette M. Wing

Liviu Panait, S. Luke

F. Charles

The following was presented at the Fourth Collegium in the Humanities held at Thammasat University on Janu ary 4 and 5, 200 I. The paper is intended as an introduction to Heidegger's impor tant essay, "The Origin of the Work of Art". In the course of the paper, I dis cuss the following themes:Heidegger's questioning of the concept of truth in terms of Aletheia, the self disclosing and concealing of Being, as the setting for a radical revaluation of techne, (the Greek word for art, as a practical, productive knowledge (Wissen)), in which techne will now be conceived as not only a way of kno win g that stands alongside theoria, but even more, as a decisive site for the disclosure of Being. The actu ality of art, its "thingly" character, will not be seen as a static object, therefore, but as energeia, activity or "being-at work". Techne will be thought as event, an event of Being, the site for the hap pening of Truth (Aletheia) This culmi nates in Heidegger's delimitation, or definition, of art as the site or place (topos, Orter; in the German word Heidegger uses) of truth's setting-itself to-work. This is art's "activity", its "ac tuality". Finally, the significance of this is.in the way it opens a new questioning of the European experience of nihilism as the "death of God", or withdrawal of and the triumph of in the the art, which

I. Etsion

Sara Lawrence-Lightfoot, J. Davis

R. Sheldon

M. Kenny

C. Hart, J. Heskett, W. Sasser

L. Strauss

Weiwei Zhao, Jingjuan Xu, Hongyuan Chen

Dejan Grba

From a small community of pioneering artists who experimented with artificial intelligence (AI) in the 1970s, AI art has expanded, gained visibility, and attained socio-cultural relevance since the second half of the 2010s. Its topics, methodologies, presentational formats, and implications are closely related to a range of disciplines engaged in the research and application of AI. In this paper, I present a comprehensive framework for the critical exploration of AI art. It comprises the context of AI art, its prominent poetic features, major issues, and possible directions. I address the poetic, expressive, and ethical layers of AI art practices within the context of contemporary art, AI research, and related disciplines. I focus on the works that exemplify poetic complexity and manifest the epistemic or political ambiguities indicative of a broader milieu of contemporary culture, AI science, technology, economy, and society. By comparing, acknowledging, and contextualizing both their accomplishments and shortcomings, I outline the prospective strategies to advance the field. The aim of this framework is to expand the existing critical discourse of AI art with new perspectives which can be used to examine the creative attributes of emerging practices and to assess their cultural significance and socio-political impact. It contributes to rethinking and redefining the art/science/technology critique in the age when the arts, together with science and technology, are becoming increasingly responsible for changing ecologies, shaping cultural values, and political normalization.

Dejan Grba

This paper aims to diversify the existing critical discourse by introducing new perspectives for the poetic, expressive, and ethical features of tactical media art that involves artificial intelligence (AI). It explores diverse approaches of AI artists and their effectiveness in critiquing the epistemic, phenomenological, and political aspects of AI science and technology. Focusing on the three representative thematic areas - sociocultural, existential, and political - it discusses the works that exemplify poetic complexity and manifest the ambiguities indicative of a broader milieu of contemporary art, culture, economy, and society. It shows that tactical AI art provides important insights into the AI-influenced world, with the potential to direct computational arts toward a socially responsible and epistemologically relevant expressive stratum. The closing sections summarize the major issues of tactical AI art and outline possible directions to tackle the challenges and advance the field.

Dejan Grba

In this paper, I take the cultural effects of generative artificial intelligence (generative AI) as a context for examining a broader perspective of AI's impact on contemporary art notions. After the introductory overview of generative AI, I summarize the distinct but often confused aspects of art notions and review the principal lines in which AI influences them: the strategic normalization of AI through art, the representation of AI art in the artworld, academia, and AI research, and the mutual permeability of art and kitsch in the digital culture. I connect these notional factors with the conceptual and ideological substrate of the computer science and AI industry, which blends the machinic agency fetishism, the equalization of computers and humans, the sociotechnical blindness, and cyberlibertarianism. The overtones of alienation, sociopathy, and misanthropy in the disparate but somehow coalescing philosophical premises, technical ideas, and political views in this substrate remain underexposed in AI studies so, in the closing discussion, I outline their manifestations in generative AI and introduce several viewpoints for a further critique of AI's cultural zeitgeist. They add a touch of skepticism to pondering how technological trends change our understanding of art and in which directions they stir its social, economic, and political roles.

Renata Burai, Sonja Vuk, Antonio Kutleša

This paper presents a practice-based exploratory project focused on the codesign and evaluation of didactic materials for children with developmental disabilities participating in equine-assisted learning interventions. The project was conducted during the 2022/2023 and 2023/2024 academic years through a collaboration between the Art Education Department of the Academy of Fine Arts in Zagreb, the Don Kihot Association and partner organisations. Ten graduate students participated as part of their coursework in the subjects Pedagogy, and Methodology of Fine Arts. The primary aim of the project was to integrate theoretical instruction with artistic practice through project-based learning and gamification, while preparing future teachers to design inclusive didactic materials adapted to the needs of children with developmental disabilities. A secondary aim was to explore how such codesigned materials function in practice during equine-assisted learning sessions. The study adopted a qualitative, practice-oriented approach. Data were collected through student portfolios, teachers’ and collaborators’ reflective notes, and structured evaluation forms completed by practitioners during the application of the didactic materials with three child participants. The project resulted in ten original didactic toys and games. The findings indicate that student engagement and intrinsic motivation increased through real-world, socially relevant design tasks. Practitioner evaluations suggest that the usability and acceptance of didactic toys depend strongly on the child’s specific type of developmental difficulty as well as on task complexity, thus highlighting the importance of adaptability and individualisation. The study contributes to practice-based research in inclusive art education and equine-assisted learning by offering empirically grounded reflections on the design and use of didactic materials.