標(biāo)題: Titlebook: Emergence in Interactive Art; Jennifer Seevinck Book 2017 Springer International Publishing Switzerland 2017 emergence.interaction design. [打印本頁] 作者: 瘦削 時(shí)間: 2025-3-21 17:17
書目名稱Emergence in Interactive Art影響因子(影響力)
書目名稱Emergence in Interactive Art影響因子(影響力)學(xué)科排名
書目名稱Emergence in Interactive Art網(wǎng)絡(luò)公開度
書目名稱Emergence in Interactive Art網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Emergence in Interactive Art被引頻次
書目名稱Emergence in Interactive Art被引頻次學(xué)科排名
書目名稱Emergence in Interactive Art年度引用
書目名稱Emergence in Interactive Art年度引用學(xué)科排名
書目名稱Emergence in Interactive Art讀者反饋
書目名稱Emergence in Interactive Art讀者反饋學(xué)科排名
作者: FIN 時(shí)間: 2025-3-21 23:23
Emergence,). This framework sits across the debated concept of emergence. It draws on the variety of understandings of emergence in the physical and life sciences through to design research communities, to reveal differences and similarities between them. The classifications fit an overarching, broad understa作者: Manifest 時(shí)間: 2025-3-22 00:26
Interaction in Art and Computing,ding of emergence, here the focus is on interaction. A selection of contemporary arts practices and computing approaches are reviewed as these can point to new ways of thinking about the relationships between audience, art system and artist. Participation, experience and open interactions form the c作者: 頌揚(yáng)本人 時(shí)間: 2025-3-22 07:31 作者: Delirium 時(shí)間: 2025-3-22 12:41 作者: URN 時(shí)間: 2025-3-22 14:27
How the Work, Works,pant experiences of emergence: that is, . emergence. Perceptual emergence was defined in Chap.?. and classified in the TEIA, but when it comes to people interacting with an artwork, . And . The studies discussed here demonstrate how evaluation and qualitative research methods, including the TEIA and作者: URN 時(shí)間: 2025-3-22 20:49
Emergence in Depth,e theoretical discussions presented in Chap. ., facilitating insight into some of the debates and concerns surrounding emergence. As well as theoretical, however, the focus of this discussion is also illustrative and pragmatic, its aim being to find a useful understanding of emergence in the context作者: 不斷的變動(dòng) 時(shí)間: 2025-3-22 21:12
Insight for Emergent Interactions,t domain is increasingly broadening its scope. Emergent experiences with art can offer more insight to interaction design, as well as the understanding of interactivity generally. Emergence is characteristically surprising, unpredictable, open-ended and with a capacity for creativity. These are comp作者: Conscientious 時(shí)間: 2025-3-23 04:06 作者: 向下五度才偏 時(shí)間: 2025-3-23 08:21 作者: Strength 時(shí)間: 2025-3-23 11:44 作者: Heretical 時(shí)間: 2025-3-23 16:02 作者: 放棄 時(shí)間: 2025-3-23 19:46 作者: 鈍劍 時(shí)間: 2025-3-24 01:46 作者: 為寵愛 時(shí)間: 2025-3-24 02:38 作者: explicit 時(shí)間: 2025-3-24 07:37
https://doi.org/10.1007/978-3-031-41988-1ptions about lack of control. These are presented here. Insights into the creative co-creation of participant?alongside artist?are also provided. All of these efforts aim to better articulate the many facets of interaction for more differentiated interactive art, understanding and participation.作者: 闖入 時(shí)間: 2025-3-24 12:38 作者: 和音 時(shí)間: 2025-3-24 17:39 作者: 獨(dú)裁政府 時(shí)間: 2025-3-24 20:24
Model-based Nonlinear Control of Aeroenginestems, with a particular focus on participant experience. But what is emergence? What is an emergent experience? How can we create one and how will we find it? Emergence is a debated area within and across domains. In this chapter, two approaches to emergence are briefly reviewed: one from design res作者: Defiance 時(shí)間: 2025-3-24 23:20
https://doi.org/10.1007/978-1-4615-4119-6). This framework sits across the debated concept of emergence. It draws on the variety of understandings of emergence in the physical and life sciences through to design research communities, to reveal differences and similarities between them. The classifications fit an overarching, broad understa作者: TAG 時(shí)間: 2025-3-25 06:30
https://doi.org/10.1007/b106568ding of emergence, here the focus is on interaction. A selection of contemporary arts practices and computing approaches are reviewed as these can point to new ways of thinking about the relationships between audience, art system and artist. Participation, experience and open interactions form the c作者: 吞沒 時(shí)間: 2025-3-25 10:10 作者: Surgeon 時(shí)間: 2025-3-25 12:48
https://doi.org/10.1007/1-4020-3690-6in a practice-based research approach. The three works are +?., . and .. Their form, technology and modes of interaction are very different, as are their creative, conceptual agendas. All are, however, primarily concerned with participant experience and emergence. As such, a key concern has been exp作者: 態(tài)度暖昧 時(shí)間: 2025-3-25 17:32 作者: 溺愛 時(shí)間: 2025-3-25 23:31 作者: Fibroid 時(shí)間: 2025-3-26 01:44
https://doi.org/10.1007/978-3-031-41988-1t domain is increasingly broadening its scope. Emergent experiences with art can offer more insight to interaction design, as well as the understanding of interactivity generally. Emergence is characteristically surprising, unpredictable, open-ended and with a capacity for creativity. These are comp作者: 名義上 時(shí)間: 2025-3-26 06:32 作者: 殺人 時(shí)間: 2025-3-26 08:43
Springer Series on Cultural Computinghttp://image.papertrans.cn/e/image/308085.jpg作者: 獨(dú)裁政府 時(shí)間: 2025-3-26 13:21 作者: Impugn 時(shí)間: 2025-3-26 18:11 作者: 愉快么 時(shí)間: 2025-3-26 23:08
Emergence in Interactive Art978-3-319-45201-2Series ISSN 2195-9056 Series E-ISSN 2195-9064 作者: Obsessed 時(shí)間: 2025-3-27 04:50 作者: 合乎習(xí)俗 時(shí)間: 2025-3-27 05:24 作者: 公式 時(shí)間: 2025-3-27 12:10 作者: Anticlimax 時(shí)間: 2025-3-27 15:12
2195-9056 nt experiences of emergence.Equips readers in identifying em.This book is concerned with emergence, interaction, art and computing. It introduces a new focus for emergence in interactive art: the .emergent experience.. Emergence literature is discussed and an organising framework, the Taxonomy of Em作者: 惡臭 時(shí)間: 2025-3-27 20:44
https://doi.org/10.1007/b106568nt to new ways of thinking about the relationships between audience, art system and artist. Participation, experience and open interactions form the core of the chapter’s discussions, leading to insight into open and emergent digital interactions.作者: 合唱隊(duì) 時(shí)間: 2025-3-27 23:32 作者: Mangle 時(shí)間: 2025-3-28 02:04
Modeling Biomolecular Networks in Cellsk, Rafael Lozano-Hemmer, and David Rokeby. These digital, interactive artworks are characterised by using a ‘lens’ of emergence, and by drawing on the TEIA. The discussion broadens our understanding of the forms emergence in interaction can take as well as providing additional ways of appreciating these works.作者: Commentary 時(shí)間: 2025-3-28 07:49 作者: disparage 時(shí)間: 2025-3-28 13:27 作者: 權(quán)宜之計(jì) 時(shí)間: 2025-3-28 18:38
