Ostensividade em arte computacional interativa

• Ano de defesa: 2015
• Autor(a) principal: Italo Cardoso Travenzoli
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Design; Games; Arte computacional; Interfaces homem-computador; Arte digital; Jogos eletrônicos; Arte por computador; Interfaces (Computador); Arte e tecnologia
• Link de acesso: http://hdl.handle.net/1843/EBAC-A4BEPY

This research investigates the phenomenon of interaction by computer systems in artistic works in which there is participation of the apparent qualities of interfaces on the critical experience of the work. For this, it establishes the concept of OSTENSIVITY which emphasizes formal results made possible through such systems, or who tend to non-mimetic abstraction, proposing autonomous aesthetic objects. As this research studies works of interactive art, the concepts of INTERACTIVITY and the different types of INTERFACE are investigated. Founded by the relationship between concepts in philosophy, film theory, computer science, art and design, the proposed concept addresses the interfaces and the interaction processes in which there is greater evidence of the apparatus. Among these concepts, SUPERFICIALITY and PROGRAMMING are applied to technical images, that is, significant surfaces produced by programmed machines, which operates in order to materialize and make possible abstract concepts. Opacity refers to theimage of the film as a surface effect, highlighting the technical and textual apparatus of representation as an aesthetic feature and as a means of providing critical distance. The ABSTRACTION, in turn, refers to the thought process needed to assimilate the world around us through the division of phenomena into objects that constitute them, term also is used to refer to either a procedure as a style in art, which results in lower accuracy of the representation of nature or figuration that lacks any representation of it. The ostensivity, contrary to what it might suggest,does not preclude the experience of critical proximity, since the higher degree of psychological investment, i.e. emotions and attention by the interactor with the universe presented by interfaces, does not depend solely on the fidelity of the representation of reality. In this sense, the research presents a new perspective on immersion, indicating that the physical and sensory involvement of the interactor by the interfaces is not enough to reach a greater proximity. This involvement depends in large part on the articulation established by the artist, as well as the individualcharacteristics of each interactor while the interactive experience occurs.