Creative Technologies

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https://hdl.handle.net/10292/7318
Creative technologies is involved in research and development in areas of:
  • Serious games, augmented, pervasive, immersive, interactive and tangible technologies
  • Transmedia – multiple narrative strategies, cross platforms, mobile media
  • Making – materials, physical computing, post-digital craft, hacktivism and object-oriented research
  • Innovation in education
  • Social and Creative Entrepreneurship & Innovation
  • Neuroscience and Creativity (in association with KEDRI)
  • Big data, visualisation, software studies
  • Urban Futures
  • Sound, Light, Space
  • Critical interfaces, systems, networks
  • Methodologies for trans-disciplinary research and collaboration

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Browsing Creative Technologies by Author "Charlton, J"

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    (DARC (Digital Aesthetics Research Centre), Aarhus University, School of Communication and Culture, 2015) Charlton, J
    No abstract.
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    Augmented body: changing interactive body play
    (ACM, 2014-12-02) Martin, M; Charlton, J; Connor, AM
    This paper investigates the player’s body as a system capable of unfamiliar interactive movement through digital mediation in a playful environment. Body interactions with both digital and non-digital environments are suggested here as a perceptually manipulative exploration area, where by a player altering how they perceive of their body and its operations can create a new playful and original experience. It questions how player interaction can change as perception of the body changes using augmentative technology.
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    Mainstreaming video annotation software for critical video analysis
    (Common Ground, 2015-06-01) Martin, M; Charlton, J; Connor, AM
    The range of video annotation software currently available is set within commercially specialized professions, distributed via outdated sources or through online video hosting services. As video content becomes an increasingly significant tool for analysis, there is a demand for appropriate digital annotation techniques that offer equivalent functionality to tools used for annotation of text based literature sources. This paper argues for the importance of video annotating as an effective method for research that is as accessible as literature annotation is. Video annotation has been shown to trigger higher learning and engagement but research struggles to explain the absence of video annotation in contemporary structures of education practice. In both academic and informal settings the use of video playback as a meaningful tool of analysis is apparent, yet the availability of supplementary annotation software is not within obvious grasp or even prevalent in standardized computer software. Practical software tools produced by the researcher have demonstrated effective video annotation in a short development time. With software design programs available for rapid application creation, this paper also highlights the absence of a development community. This paper argues that video annotation is an accessible tool, not just for academic contexts, but also for wider practical video analysis applications, potentially becoming a mainstream learning tool. This paper thus presents a practical multimodal public approach to video research that potentially affords a deeper analysis of media content. This is supported by an in-depth consideration of the motivation for undertaking video annotation and a critical analysis of currently available tools.
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    No More and Less: The Withdrawal of Speculation
    (Ubiquity Press, Ltd., 2019-07-18) Charlton, J
    In the ten years since the seminal workshop on Speculative Realism at Goldsmiths College (Bassier), speculation has become the new noumenon of the art world: Promising the final fulfilment of the avant-garde dream that would finally emancipate the art object from indexicality, the speculative has held an irresistible appeal for artists (Beech, 1–2). As leader of the pack, Graham Harman’s Object Oriented Ontology (OOO) has become the champion of the cause. Yet, after all this speculation around realism, we seem to have got no closer to the real object of art than we ever where: OOO and its speculative variants, have left artists standing in the studio with nothing but a handful of sensual qualities that, as a symptom of transcendental withdrawal, are of little practical use. Speculation it seems has failed the facticity of practice and threatens to reduce art to little more than an indirect aesthetics. Anticipating the release of Harman’s Art and Object in mid 2019, this paper attempts to head off any speculative Greenbergian revitalisation by considering the implications of Tristan Garcia’s intensity with regard to the facticity of practice (Garcia, 2018). Central to Garcia’s ontology, intensity – the difference between what a thing is and what it is not – is seen to resists speculative naivety while informing practice’s need for certitude. Thus, unlike the speculative withdrawal of indirect aesthetic, aesthetics of intensity withhold nothing, and emerge in art practice as the tension between thought and action. Bassier, Ray, et al. “Speculative Realism.” Collapse, III, 2007, pp. 306–433. Beech, Amanda, et al. Speculative Aesthetics. Urbanomic, 2014. Garcia, Tristan. Life Intense: A Modern Obsession. Edinburgh University Press, 2018. Harman, Graham. “Aesthetics and the Tension in Objects.” [Met]Afourism, Midsea Books Ltd, 2018, pp. 11–19. Harman, Graham. The Quadruple Object. Zero Books, 2011a. Harman, Graham. “The Road to Objects.” Continent, vol. 1.3, 2011b,171–179. Harman, Graham. Art and Object. Polity Press, 2019.
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