Ⓥ V.6 Virtual Discussion - Papers
Monday, June 24, 2024 |
3:10 PM - 4:00 PM |
Virtual |
Overview
Group discussion giving virtual presenters the opportunity to discuss their work with colleagues and delegates
Details
Join the session here
This virtual discussion session will give virtual presenters the opportunity to participate in a live interactive virtual panel discussion facilitated by an academic chair. Virtual delegates will be encouraged to pre-watch the presentation videos (available via the OnAIR conference platform) and then join this discussion session, which will run through a provided Zoom link. The Aim of this session is to provide an opportunity for presenters to share and discuss their work with colleagues and for delegates to engage in Q&A. Each discussion will run for 30-50 minutes depending on how many virtual presenters and delegates are participating.
This virtual discussion session will give virtual presenters the opportunity to participate in a live interactive virtual panel discussion facilitated by an academic chair. Virtual delegates will be encouraged to pre-watch the presentation videos (available via the OnAIR conference platform) and then join this discussion session, which will run through a provided Zoom link. The Aim of this session is to provide an opportunity for presenters to share and discuss their work with colleagues and for delegates to engage in Q&A. Each discussion will run for 30-50 minutes depending on how many virtual presenters and delegates are participating.
Speaker
Dr WhiteFeather Hunter
PhD Biological Arts
University of Western Australia
FP: Bioart Coven—Co-creating Community at the Intersection of Contemporary Witchcraft and Biotechnologies
Abstract
Bioart Coven is an intersectional feminist collective of 75 international artists, makers, and activists, including cisgender, queer and nonbinary contemporary witches, witchcraft enthusiasts and occult-curious; we are technophiles, hackers, scientists, and healthcare workers as well as academic re-searchers and non/post-academic critical thinkers—all of whom have gathered around a powerful, niche set of sociopolitical interests. These interests are encapsulated as a promiscuous interchange between witchcraft and TechnoFeminism, which I call TechnoFemininst Witchcraft. The Bioart Coven name gives an appreciative nod to, and adapts of the title of the book, Bioart Kitchen; Art, Feminism and Technoscience by Lindsay Kelley. In Bioart Kitchen, Kelley investigates the history of domestic labour and its role in sci-tech development, revisited through a feminist lens. Important to note is that she refrains from mentioning or alluding to witches, though many of us have worked from our kitchens. Bioart Coven initiates from a feminist historiography of the figure of the witch as intimately linked with the birth, development, and socioeconomic expansion of industrial technologies—including biotechnologies. As a coven, we look at how working with vital materiality, technoscientific and communal ritual processes across digital space informs relational aspects of consumptive culture, through the lens of the witch.
Biography
WhiteFeather Hunter is an internationally recognized Canadian artist as well as SSHRC Doctoral Fellow and Australian government scholar at The University of Western Australia. She has presented work in various institutions across the world, most recently at Art Laboratory Berlin, the Museum of Witchcraft and Magic (UK), and RCA London. Hunter’s (often collaborative) art practice incorporates biotechnology, feminist witchcraft, video performance and pedagogy to create disruptive sci-tech narratives towards bodily autonomy. Recent publications include in Continuum: Journal of Media & Cultural Studies and Technoetic Arts: A Journal of Specula-tive Research.
Dr Mengyao Guo
Assistant Professor
Shenzhen International School of Design, Harbin Institute of Technology
FP: Liaozhai in the Mirror: Exploring Gender Bias and Awareness through Utilizing Serious Games for Gender Education
Abstract
This paper introduces ``Liaozhai in the Mirror", a serious educational game for gender equality centered on the interactive visual storytelling environment with AI-generated images and texts by generative AI (GenAI), which opened a new scope for playable gender education in schools and universities. Inspired by ``Strange Stories from a Chinese Studio (Liaozhai Zhiyi 聊斋志异)" and the concept of edutainment, the game amplifies the impact of gender education on the ending of characters in the game through visual storytelling, which is amplified to strengthen the necessity of gender education. Players determine the ending of the original character's storyline based on their understanding of gender issues covering dating relationships, bystanders, gaslighting, dating violence, gender equality, and consent. In this way, their performance reflects the consequences of misunderstanding from the unfortunate ending to more clearly clarify the significance of learning about gender issues. AI generates 14,348,907 possible outcomes of the same character for different answers through large language models (LLMs) to generate texts and images, and each outcome is the same in terms of good and bad endings, but the stories vary in diversity.
Biography
Mengyao Guo is an award-winning Artist, Illustrator, and Graphic Designer and Researcher based in Shenzhen and Macau. She is an assistant professor at Shenzhen International School of Design, Harbin Institute of Technology, and a Ph.D. candidate in Visual Communication at the University of Macau. Her works have been widely included in several worldwide exhibitions, including CITYA, Art Vancouver, Art Fair Tokyo, Art on Paper, etc., and her research has been published at the ACM Artech, ACM Chinese CHI, ACM TEI, ISEA and EVA London etc., in Digital Media Art, HCI and Art & Technologies.
Art, Technology and Marginal Communities. "Il giorno in cui tornammo ai campi" as a Case Study Carlo Gioia
Independent Researcher
FP: Art, Technology and Marginal Communities. "Il giorno in cui tornammo ai campi" as a Case Study
Abstract
This paper presents "Il giorno in cui tornammo ai campi" ("The day we returned to the fields"), a research-creation project carried out, self-produced and self-financed between September and December 2022 in the rural community of Latronico in the Basilicata region, Italy. The aim of the project is to raise awareness of the phenomenon of industrial abandonment that affects the landscape of this geographic area, using the analytical and narrative grammar of new media. In the context of a spontaneous project, this research explores the following questions: how can we examine the issues associated with these territories and re-code them through the creative use of new technologies to envision possible futures? What operational methods are available for the independent and decentralized production of technological art in a marginalized territory? What impact does this bring to the communities residing in these territories? Positioned within the framework of new media practices as one of the rare examples of planning in a rural Italian area, "Il giorno in cui tornammo ai campi" endeavors to chart a potential path for grassroots inclusivity of artistic practices related to new media in the ongoing processes of transformation in marginal Italy.
Biography
Carlo Gioia is an engineer, designer, and artist with a special affection for the phygital dimension. He works on developing multichannel interactive systems and immersive experiences for exhibitions, museums, and independent events, with a focus on new technologies.
His areas of interest include interaction design, physical computing, prototyping natural user interfaces, and computer graphics, all united by an open and participatory approach oriented towards do-it-yourself and with others practices.
Conducting a multidisciplinary academic and artistic research straddling technologies and territories – in particular rural and mountainous ones, he investigates how new media art can theorize and put into practice new ways of thinking about places, cultures, communities, and memories.
Professor Teresa Veiga Furtado
Centre of Art History and Artistic Research of University of Évora
FP: Digital Basket: Multimedia Labs for Gender Equality Web Art Archive
Abstract
The Digital Basket: Multimedia Labs for Gender Equality website – www.cabazdigital.uevora.pt – is the result of an art-based research project, in the form of an interactive digital art archive, that emerged to host the work of Digitalias, a domestic violence Shelter Home women artistic collective, as well as the work carried out as part of a wider multimedia art project centred on gender equality multimedia workshops for high school and university students and the community of Évora, Portugal. The website is intended to be a participatory art research project, of CHAIA-Centre for Art History and Artistic Research, of the University of Évora, carried out to promote gender equality on the Internet, from an inclusive and intersectional perspective, in accordance with the directives of the Action Plan for the Digital Transition, the INCoDe.2030 Programme of the Government of Portugal, and the Strategy for Gender Equality 2020-2025 of the European Parliament. The main objectives are: collective co-creation of multimedia art and net art with students and the community, using basic Information and Communication Technology (ICT) tools, centred on gender equality issues, disseminated on this website and in travelling exhibitions, and; empowerment of girls and women in the community with ICT skills to reverse the downward trend in their participation in digital society and their consequent impoverishment and subalternation.
Biography
Born in 1967, lives and works in Lisbon and Évora. She is an artist, Associate Professor at the Department of Visual Arts and Design at the University of Évora (UÉ), an integrated member of the Center for Art History and Artistic Research (CHAIA/UÉ) and an associate member of the Interactive Technologies Institute | of the Laboratory for Robotics and Engineering Systems (LARSyS), the Centre for Research and Studies in Fine Arts of the Faculty of Fine Arts of the University of Lisbon (CIEBA-FBAUL) and the Interdisciplinary Center for Social Sciences (CICS.NOVA) of the Faculty of Social and Human Sciences of the New University of Lisbon (NOVA FCSH). Her research areas are Multimedia, Net Art, Gender Studies, Social and Participatory Art. More information at https://www.cienciavitae.pt/901B-5887-A674
Dr Luciana Lima
ITI / LARSyS
FP: (In)Visible Women: Multidisciplinary Creation and Collaborative Re-search in Transmedia Art and Gaming in Portugal
Abstract
In this paper, we discuss the arts-based, collaborative research we have been carrying out as part of a research project that aims to map the evolution of female participation in the digi-tal games sector in Portugal. Artists, designers, programmers and a psychologist have contributed to this project. This paper argues, in particular, for the potential of multidisciplinary collaboration in arts-based research and shows how this potential is manifested in two audiovisual projects made by the BLIND REVIEW team. We discuss the process of creating a completed animation called “The Women of Timex-Portugal” and a short film in progress called “Mnema”. Through the audiovisual works presented here, we want to disseminate the results of the study on the evolution of female participation in the digital games sector in Portugal and to raise awareness among a wider audience about the micro-processes of female exclusion in this sector. Also, we pay tribute to the women hidden in the history of video games in Portugal and encourage more women to enter this industry. Finally, we conclude with a critical reflection on these collaborative arts-based research processes and discuss our ongoing and future work.
Biography
Luciana Lima is a researcher at the Interactive Technology Institute (LARSyS, Portugal). Her academic background includes Arts, Social Psychology, and Educational Sciences. She did post-doctoral research in Multimedia Art at the Faculty of Fine Arts of the University of Lisbon. She hold a PhD in Psychology from the Faculty of Psychology and Education Sciences at the University of Porto (Portugal, 2018). Her main thematic interests are Gender Equality, STEAM fields, Game Art, Convergent Feminism and Digital Games.
Ms Lorena Ramos
PhD student
Ist-id
Co-presenter
Biography
Lorena Ramos is a PhD student at Fine Arts Faculty, at Lisbon University. Her academic and artistic research has always been focused on the deviant. Her
graduation project was a practical investigation about monsters, and her master's degree was focused on the representation of the female in art, pointing out the default association between female and monstrous. Nowadays, she researches the history of witches in Portugal and Brazil. Throughout these investigations, she has often involved technology and the internet in her artistic production, at times proposing the use of social media as a support, and other times creating digital illustration and animation in video and GIF formats.
Session chair
Carlo Gioia
Independent Researcher
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