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The Metaplastic Arts and Design Innovations
International Journal of Art, Culture, Design, and Technology
Abstract
This article discusses the theory of the Metaplastic discipline for the study and the realization of new virtual media through interdisciplinary methodologies between reality and virtual realities. It explains the theoretical and artistic background of metaplastic virtual worlds evolutions, from their archetypes to their definition. The union between plastic elements and the fuzzy logic systems, found their expression with new metaplastic semantic and aesthetic values. The virtual media acquire form and meaning through its process of conceptual interpretation. The metaphor of the artistic machine finds its new realization where the metaplastic machine itself becomes aesthetic expression of the virtuality. The following paragraphs use metaplastic definitions within Design, Art, and Sciences application fields. The Open Metaplastic framework’s general approach applied to software and hardware modeling design are discussed.
form only given. This paper presents the MetaPlastic Art&Design Manifesto and its own Open MetaPlastic Virtual Platform.
Recent developments in display technology, specifically head-mounted displays slaved to the user’s head position, techniques to spatialize sound, and computer-generated tactile and kinesthetic feedback allow humans to experience impressive visual, auditory, and tactile simulations of virtual environments. However, while technological advancements in the equipment to produce virtual environments have been quite impressive, what is currently lacking is a conceptual and analytical framework in which to guide research in this developing area. What is also lacking is a set of metrics which can be used to measure performance within virtual environments and to quantify the level of presence experienced by participants of virtual worlds. Given the importance of achieving presence in virtual environments, it is interesting to note that we currently have no theory of presence, let alone a theory of virtual presence (feeling like you are present in the environment generated by the computer) or telepresence (feeling like you are actually “there” at the remote site of operation). This in spite of the fact that students of literature, the graphic arts, the theater arts, film, and TV have long been concerned with the observer’s sense of presence. In fact, one might ask, what do the new technological interfaces in the virtual environment domain add, and how do they affect this sense, beyond the ways in which our imaginations (mental models) have been stimulated by authors and artists for centuries? Not only is it necessary to develop a theory of presence for virtual environments, it is also necessary to develop a basic research program to investigate the relationship between presence and performance using virtual environments. To develop a basic research program focusing on presence, several important questions need to be addressed. The first question to pose is, how do we measure the level of presence experienced by an operator within a virtual environment? We need to develop an operational, reliable, useful, and robust measure of presence in order to evaluate various techniques used to produce virtual environments. Second, we need to determine when, and under what conditions, presence can be a benefit or a detriment to performance.
Interaction systems with the user need complex and suitable conceptual and multisensorial new media definition. This study analyzes social and conceptual evolutions of digital media and proposes an interactive mixed-space media model which communicates the information contents and enhances the user experience between interactive space of physical objects and online virtual space. Its feedback gives information through user performance among its multisensorial interfaces. The research widens previous research publications, and gives precisely a definition of a fuzzy logic cognitive and emotional perception level to the metaplastic multimedia model. It augments the interaction quality within its conceptual media space through an action-making loop and gives as a result new contents of information within its metaplastic metaspace configurations.
In the City of Abadyl we try to explore a complex digital space in a setting that invites to participation. We provide a detailed and complex, yet open world that can be utilized in order to generate scenarios for the temporary co-creators of Abadyl, who would then interact in an optional environment and in the end producing new artefacts. Abadyl is a database that contains all the gathered information in different file formats, it is a storage facility for all of the physical artefacts, it is a website used for communication and documentation, it is a map for navigating the City. This combination of interactive situations and artefactual production we called “fieldasy”. We are concentrated on developing collaboration in the production of new media and it´s artefacts. We try to produce artwork that actually incorporates surprising visual and technical proposals that are unusual, enriching and engaging. By building prototypes and iterate it over time and amongst the co-creators, it let us explore this area in a fruitful way, moving between artistic intentions/screen writing, artefacts and digital generated expressions and script/code writing. Here the virtual object can challenge the physical with qualities that is very hard to achieve in the physical world, and in that conflict, new expressions can be developed. Today Hybrid creations have become a method for working with cultural production not only with different elements of form, but as blending identities of the creators as well. In our prototype work we focus especially on interactive installations and stage design; we realize that the digital design process both demand new forms of conceptualization and prototyping activities to support the design of the expression of the final artwork itself – and maybe in the long run propose a updated and appropriate design theory in this field.
A grammar can be regarded as a device that enumerates the sentences of a language. We study a sequence of restrictions that limit grammars first to Turing machines, then to two types of system from which a phrase structure description of the generated language can be drawn, and finally to finite state Markov sources (finite automata). These restrictions are shown to be increasingly heavy in the sense that the languages that can be generated by grammars meeting a given restriction constitute a proper subset of those that can be generated by grammars meeting the preceding restriction. Various formulations of phrase structure description are considered, and the source of their excess generative power over finite state sources is investigated in greater detail.
The virtual metaplasticity platform project
- Artsmachine
Workshop virtuality in arts and design: Virtual exhibition projects
- X Perrot
- G Mura
Three models for the description of language in information and control.
- N.Chomsky
Paul Klee. Analyse sémiotique de trois peintures
- F Thürlemann