Toshio iwai biography definition
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As we had seen in the first part of this essay, published on the last month issue – Digimag 69, the work of Toshio Iwai lies beneath two major worldviews: holism and reductionism; Allison on this regard writes: “Whereas other scholars such as Max Weber argued that modernity brought rationalization, Benjamin thought that under the surface of rationality the urban-industrial world had become reenchanted on an unconscious level” (Allison 2006: 28). [1] (Allison 2006 : 28).
Roberto Milazzi sunveils qualities pertinent to nomadism through Guènon: accordingly to the corpus of studies of Renet Guènon, for settled cultures, persuasion is actuated through images – might be in the form of paintings as well as sculptures and the architecture – while for nomads the message is conveyed by röst. The theophanies among Jewish, nomads par excellence, have prevalently the following character: “God spoke” and “God made His voice aloud”. Well to remember that: profet is who speak
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Toshio Iwai: Digital Games as Musical Realizations
Related papers
Costantino Oliva
Institute of Digital Games - University of Malta, 2019
This dissertation applies the concept of ‘musicking’, introduced by musicologist Christopher Small, to the analysis of digital games. According to Small, “to music is to take part, in any capacity, in a musical performance, whether by performing, by listening, bygd rehearsing or practising, by providing material for performance (composing) or by dancing” (Small, 1998, p. 9). If that is the case, in what capacity players of digital games take part in musical performances? This dissertation provides a detailed answer to this question, situating it within the discipline of Game Studies. Digital games are considered for their cybernetic qualities (Aarseth & Calleja, 2015) as objects that can be traversed and reconfigured by means of ergodic effort. (Aarseth, 1997). The intersection of ergodic effor
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An Invitation to Interactive Art
Itsuo Sakane
Welcome to the world of interactive art!
If this is your first experience with interactive art, we want to say plunge right in. Touch the works on display. Use your body. Enjoy interacting with the art.
Those of you who came to The Interaction '95 last year enjoyed a wide variety of remarkable events. You made music with your bodies. You drew artificial life forms and saw them swimming in water. You talked with the image of a beautiful woman. The interactive art you will experience this year is even more startling.*1
The first thing you will notice about this year's displays is how the range of subjects and themes in interactive art has grown. There are works in which you can expand your perspective to interact with a world as wide as outer space. There are others that take you to realms of more subtle responses of the human senses. Some even let you participate tactilely. There are works invoking metaphorical meaning and me