Conference paper Open Access

Empathy in the Ergodic Experience of Computational Aesthetics

Carvalhais, Miguel; Cardoso, Pedro

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  <identifier identifierType="DOI">10.5281/zenodo.1303348</identifier>
      <creatorName>Carvalhais, Miguel</creatorName>
      <nameIdentifier nameIdentifierScheme="ORCID" schemeURI="">0000-0002-4880-2542</nameIdentifier>
      <affiliation>INESC TEC &amp; Faculty of Fine Arts, University of Porto</affiliation>
      <creatorName>Cardoso, Pedro</creatorName>
      <affiliation>INESC TEC</affiliation>
    <title>Empathy in the Ergodic Experience of Computational Aesthetics</title>
    <subject>Computational Art</subject>
    <subject>Ergodic Media</subject>
    <subject>Artificial Aesthetics</subject>
    <subject>Virtuosic Interpretation</subject>
    <subject>Theory of the System</subject>
    <date dateType="Issued">2018-06-25</date>
  <resourceType resourceTypeGeneral="Text">Conference paper</resourceType>
    <alternateIdentifier alternateIdentifierType="url"></alternateIdentifier>
    <relatedIdentifier relatedIdentifierType="DOI" relationType="IsVersionOf">10.5281/zenodo.1303347</relatedIdentifier>
    <rights rightsURI="">Creative Commons Attribution 4.0 International</rights>
    <rights rightsURI="info:eu-repo/semantics/openAccess">Open Access</rights>
    <description descriptionType="Abstract">&lt;p&gt;Computational artworks develop very particular relationships with their readers. Being able to encode and enact complex and contingent behaviours, a computational artwork exists in a dual state between two layers that are inextricably connected, a computational subface that is often a black box which can only be peeked at through an analogue surface, that mediates but also isolates it. But the procedural layer of the subface can be unearthed through a process of virtuosic interpretation, through which readers are able to develop some empathy with the system and arrive at a theory of the system that ultimately allows the transferring of some of the artwork&amp;rsquo;s processes to human minds. This paper focuses on how this process is developed and how it is the basis for a unique type of aesthetic experience that leads computational media and art to involve readers in anamorphosis and in a dialectics of aporia and epiphany, that mirrors the superimposition of subface and surface, and from where narrative experiences emerge.&lt;/p&gt;</description>
    <description descriptionType="Other">This work is financed by the ERDF—European Regional Development Fund through the Operational Programme for Competitiveness and Internationalisation – COMPETE 2020 Programme within project "POCI-01-0145-FEDER-006961", and by National Funds through the FCT – Fundação para a Ciência e a Tecnologia (Portuguese Foundation for Science and Technology) as part of project "UID/EEA/50014/2013".</description>
      <funderName>Fundação para a Ciência e a Tecnologia</funderName>
      <funderIdentifier funderIdentifierType="Crossref Funder ID">10.13039/501100001871</funderIdentifier>
      <awardNumber awardURI="info:eu-repo/grantAgreement/FCT/5876/147326/">147326</awardNumber>
      <awardTitle>INESC TEC - INESC Technology and Science</awardTitle>
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