Seifert, UweKim, Jin HyunMoore, Anthony2018-09-242018-09-242008978-3-8394-0842-1https://mediarep.org/handle/doc/2139Current findings from anthropology, genetics, prehistory, cognitive and neuroscience indicate that human nature is grounded in a co-evolution of tool use, symbolic communication, social interaction and cultural transmission. Digital information technology has recently entered as a new tool in this co-evolution, and will probably have the strongest impact on shaping the human mind in the near future. A common effort from the humanities, the sciences, art and technology is necessary to understand this ongoing co- evolutionary process. Interactivity is a key for understanding the new relationships formed by humans with social robots as well as interactive environments and wearables underlying this process. Of special importance for understanding interactivity are human-computer and human-robot interaction, as well as media theory and New Media Art. »Paradoxes of Interactivity« brings together reflections on »interactivity« from different theoretical perspectives, the interplay of science and art, and recent technological developments for artistic applications, especially in the realm of sound.<ul> <li><a href ='http://dx.doi.org/10.25969/mediarep/2700'>Uwe Seifert: <i>The Co-Evolution of Humans and Machines. A Paradox of Interactivity</i></a></li> </ul> <h4>I. Rethinking Interactivity</h4> <ul> <li><a href ='http://dx.doi.org/10.25969/mediarep/2706'>Sybille Krämer: <i>Does the Body Disappear? A Comment on Computer Generated Spaces</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2708'>Ludwig Jäger, Jin Hyun Kim: <i>Transparency and Opacity. Interface Technology of Mediation in New Media Art</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2718'>Werner Rammert: <i>Where the Action is. Distributed Agency between Humans, Machines, and Programs</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2719'>Frieder Nake: <i>Surface, Interface, Subface. Three Cases of Interaction and One Concept</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2720'>Rudolf Kaehr: <i>Double Cross Playing Diamonds. Understanding Interactivity in/between Bigraphs and Diamonds</i></a></li> </ul> <h4>II. Interplay between Art, Science, and Technology</h4> <ul> <li><a href ='http://dx.doi.org/10.25969/mediarep/2721'>Hans H. Diebner: <i>Where Art and Science Meet (or Where They Work at Cross-Purposes)</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2722'>Christoph Lischka: <i>Time, Magma, Continuity. Some Remarks on In-Formation and the Fabrication of “Poiesis”</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2727'>Julian Rohrhuber: <i>Implications of Unfolding</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2730'>Georg Trogemann et al.: <i>UNORT-KATASTER. An Urban Experiment Towards Participatory Media Development</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2732'>Antonio Camurri et al.: <i>Modelling and Analysing Expressive Gesture in Multimodal Systems</i></a></li> </ul> <h4>III. Interactive Media Performances: Past, Present, and Future</h4> <ul> <li><a href ='http://dx.doi.org/10.25969/mediarep/2734'>Martina Leeker: <i>Interaction Computer Dance. The Resonance Paradigm 1900/2000</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2737'>Monika Fleischmann, Wolfgang Strauss: <i>Staging of the Thinking Space. From Immersion to Performative Presence</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2741'>Jin Hyun Kim: <i>From Interactive Live Electronic Music to New Media Art</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2742'>Gil Weinberg: <i>Extending the Musical Experience. From the Physical to the Digital and Back</i></a></li> <li><a href ='http://dx.doi.org/10.25969/mediarep/2743'>Suguru Goto: <i>Virtual Musical Instruments and Robot Music Performances</i></a></li> </ul>engCreative Commons Attribution Non Commercial No Derivatives 3.0 GenericDigital MediaDigitale MedienHuman-Computer InteractioninteractivityInteraktivitätmedia artMedia Philosophymedia theoryMedienkunstMedienphilosophieMensch-Maschine-InteraktionmusicNew Media Arttechnology30010.25969/mediarep/180410.14361/9783839408421http://dx.doi.org/10.25969/mediarep/2700http://dx.doi.org/10.25969/mediarep/2706http://dx.doi.org/10.25969/mediarep/2708http://dx.doi.org/10.25969/mediarep/2718http://dx.doi.org/10.25969/mediarep/2719http://dx.doi.org/10.25969/mediarep/2720http://dx.doi.org/10.25969/mediarep/2721http://dx.doi.org/10.25969/mediarep/2722http://dx.doi.org/10.25969/mediarep/2727http://dx.doi.org/10.25969/mediarep/2730http://dx.doi.org/10.25969/mediarep/2732http://dx.doi.org/10.25969/mediarep/2734http://dx.doi.org/10.25969/mediarep/2737http://dx.doi.org/10.25969/mediarep/2741http://dx.doi.org/10.25969/mediarep/2742http://dx.doi.org/10.25969/mediarep/2743