Books by Everardo Reyes
Digital practices are shaped by graphical representations that appear on the computer screen, whi... more Digital practices are shaped by graphical representations that appear on the computer screen, which is the principal surface for designing, visualizing, and interacting with digital information. Before any digital image or graphical interface is rendered on the screen there is a series of layers that affect its visual properties. To discover such processes, it is necessary to investigate software applications, graphical user interfaces, programming languages and code, algorithms, data structures, and data types in their relationship with graphical outcomes and design possibilities.
This book studies interfaces as images and images as interfaces. It offers a comprehensible framework to study graphical representations of visual information. It explores the relationship between visual information and its graphical supports, taking into account contributions from fields of visual computing. Graphical supports are considered as material but also as formal aspects underlying the representation of digital images on the digital screen.
Les systèmes hypermédia, pourtant apparus il y a plusieurs décennies, restent un sujet d’étude co... more Les systèmes hypermédia, pourtant apparus il y a plusieurs décennies, restent un sujet d’étude constant. En effet, avec les avancées technologiques et la variété des supports, des nouveaux systèmes voient régulièrement le jour, dans des champs et contextes divers. C’est la raison pour laquelle la recherche conceptuelle et fonctionnelle les concernant reste importante et nécessaire.
Design de systèmes hypermédia interactifs aborde les systèmes hypermédia d’un point de vue théorique et pratique, de façon à la fois originale et scientifique. Il traite de leurs manières de représenter et d’interagir avec l'information, et met l'accent sur leurs processus de conception. Les auteurs des systèmes y présentent la complexité des facteurs sous-jacente à l'aspect design, la mise en oeuvre et la maintenance des outils destinés à un usage humain.
A travers ces réflexions, cet ouvrage traite des questions qui mettent non seulement l’utilisateur, mais également la société, les enjeux modernes, les disciplines scientifiques et la culture, au coeur des systèmes hypermédia.
by Everardo Reyes, Khaldoun Zreik, Pierre Châtel, Maria Giulia Dondero, Eva Figueras Ferrer, k badni, Gabriela Aceves Sepúlveda, Federico A Garrido, Gabriel Pareyon, Pilar Rosado Rodrigo, Alexandre Michaan, Nina van Doren, and frank dufour
Traducción de Software Takes Command (versión del 30 de septiembre de 2012, publicada bajo licenc... more Traducción de Software Takes Command (versión del 30 de septiembre de 2012, publicada bajo licencia Creative Commons en manovich.net) por Everardo Reyes-García. Este documento tiene únicamente intenciones educativas, artísticas y científicas.
INVENTAR EL FUTURO: ARTE · ELEcTRIcIdAd · NUEVOs mEdIOs mOVImIENTO, dURAcIÓN, ILUmINAcIÓN FORmA c... more INVENTAR EL FUTURO: ARTE · ELEcTRIcIdAd · NUEVOs mEdIOs mOVImIENTO, dURAcIÓN, ILUmINAcIÓN FORmA cOdIFIcAdA y PROdUccIÓN ELEcTRÓNIcA AmbIENTEs cARgAdOs REdEs, VIgILANcIA, INTER-FERENcIAs cULTURALEs cUERPOs, sUsTITUTOs y sIsTEmAs EmERgENTEs sImULAcIONEs y sImULAcROs ExPOsIcIONEs, INsTITUcIO-NEs, cOmUNIdAdEs, cOLAbO-RAcIONEs FUTUROs "AHORAs" y "ENTON-cEs" ALTERNATIVOs: REImAgI-NAR LA HIsTORIA PARA REVIsAR EL FUTURO. REVIsIÓN HIsTÓRIcA dE LA FOTOgRAFíA, LOs NUEVOs mEdIOs y EL ARTE AgRAdEcImIENTOs INVENTAR EL FUTURO: ARTE · ELECTRICIDAD · NUEVOS MEDIOS 6 7 PREFAcIO 10 12 13 mOVImIENTO, dURAcIÓN, ILUmINAcIÓN
The 1st international congress on Web Studies aims at providing a venue for researchers and profe... more The 1st international congress on Web Studies aims at providing a venue for researchers and professionals from different backgrounds for discussion, study, practical demonstrations, sharing, and exchange on new developments and theories regarding the World Wide Web. The congress therefore invites contributions from a heterogeneous set of fields and domains such as: Web systems, computational intelligence, human-computer interaction, digital theory, Web sociology, and well as interactive and digital arts. We also encourage contributions from businesses and organizations.
For this edition, CAC has chosen Mexico to call administrators, artists, authors, creators, distr... more For this edition, CAC has chosen Mexico to call administrators, artists, authors, creators, distributors, instructors, inventors, managers, producers, researchers and technologists, concerned by those emerging artistic and technological forms, contributing, collaborating and exchanging their artworks, experiences, know-how, knowledge and visions on the digital sense.
Chapters by Everardo Reyes
The 3D Additivist Cookbook
Info--aesthetics is a paradigm for understanding contemporary culture. It refers to those practic... more Info--aesthetics is a paradigm for understanding contemporary culture. It refers to those practices that can be best understood as responses to the new priorities of information society: making sense of information, working with information, and producing knowledge from information. Info--aesthetics does not examine "new media" in particular; it rather examines the various cultural fields where the use of computers for design and production gives rise to emerging aesthetics and new cultural forms. It investigates new design aesthetics, new iconologies of information society, new forms that are specific to it, and ways in which super-human scale of information and data can be translated to the scale human perception and cognition.
Les hypertextes et les hypermédias artistiques font référence
à des oeuvres reliant des informat... more Les hypertextes et les hypermédias artistiques font référence
à des oeuvres reliant des informations dynamiques. Sur le plan
technique, le modèle des oeuvres hypermédia est constitué d’un
ensemble de variables et de paramètres liés, ainsi que de la
transmission de données logiques entre ses composants.
Son, image, texte, vidéo : chaque média propose à l’artiste des
formes diverses pour matérialiser... more Son, image, texte, vidéo : chaque média propose à l’artiste des
formes diverses pour matérialiser ses idées. La forme stabilise
une pensée, un processus ou une virtualisation, dans un support
matériel qui dépend des possibilités de la perception humaine.
L’art numérique explore des formes nouvelles par l’hybridation
des médias et par des modélisations algorithmiques.
L’art sonore fait référence à la création, à la sélection et
à la réinterprétation d’ondes sonor... more L’art sonore fait référence à la création, à la sélection et
à la réinterprétation d’ondes sonores disponibles dans un
environnement donné avec pour objectif de formuler un discours
esthétique. La particularité de l’art sonore réside dans les
vibrations qui traversent le corps humain et les objets matériaux,
tout en générant des réactions au-delà la contemplation visuelle.
Handbook of Research on Digital Media and Creative Technologies
Virtual worlds can be approached in a broader sense of that which refers to common conceptions of... more Virtual worlds can be approached in a broader sense of that which refers to common conceptions of virtual reality and immersive environments. This chapter explores the design of virtual worlds in a time when much contemporary media is accessed through and simulated by software. Today, the main extensions of man are cognitive skills and experiences. Software is a way of seeing the world; it plays a central role in media design and distribution. Software and perception of reality are intertwined and pervasive:
media not only exist in form of software but the shape and properties of media are also designed with software. In order to understand the implications of computational media, it is necessary to re-articulate problems in a creative and virtual manner. At the end of the chapter, the author speculates on design approaches and presents some examples developed by him.
Les Hypermédias : conception et réalisation, 2005
De l'hypertexte à l'hypermédia
Papers by Everardo Reyes
Lexia. Rivista di semiotica, 2021
The increasing popularity of face recognition software introduces new forms to interact with digi... more The increasing popularity of face recognition software introduces new forms to interact with digital face representations. This article explores some of the forms that have emerged in the field of automatic face recognition including face detection , face identification, or face classification. The visual representations generated in technical and scientific literature are taken into account in order to study their relationship with user interface elements. At this point, the article adopts a cultural perspective based on semiotics, media studies and cultural analytics. Human-computer interaction is conceived as an enunciation process and some modalities are regarded according to the practice of face recognition software. In the end, the article discusses an original project in cultural analytics, created from images of album covers and analyzed from their occlusion and distortion values, which is an interpretative reading that technical faces also evoke.
Interfaces numériques, 2020
Les transformations constantes en termes de quantité/qualité, accès et variété de données entrain... more Les transformations constantes en termes de quantité/qualité, accès et variété de données entrainent différents changements au sein des pratiques journalistiques. Dans cet article, nous nous intéressons aux rapports entre les informations que nous caractérisons comme "données journalistiques" et leur mise en interface graphique, c'est-à-dire aux différentes manières dont les chiffres, textes et images sont organisés dans un but de visualisation et d'exploration. Après un aperçu matériel et historique des supports graphiques journalistiques, nous étudions les relations signifiantes entre trois niveaux de pertinence : thématique, visuel et interactif. Ensuite, nous discutons plusieurs cas concrets de visualisations des données publiées dans un cadre journalistique. De manière complémentaire, nous présentons nos propres visualisations d'un corpus de magazines afin de repérer des interactions entre thèmes et signes plastiques.
International Symposium on Electronic Art (ISEA), 2020
The École universitaire de recherche (EUR) ArTeC is a consortium of fourteen French institutions ... more The École universitaire de recherche (EUR) ArTeC is a consortium of fourteen French institutions including universities, art schools, museums, and archives. ArTeC (which stands for Arts, Technologies, numérique, médiations humaines et Création) was established in 2018 at the initiative of Paris 8, Nanterre and Paris Lumière with the intention to consolidate a long-term project inter-pollinating arts and sciences for education and research. While the multi-and interdisciplinary approaches are fundamental for us, we aim at focusing on art and creativity as the entry points to studies and practices that proliferate with the use of digital technologies. In this institutional presentation we will describe the main aspects of ArTeC and a brief overview of an ongoing project that reunites several international teams to reflect on environment-related issues.
Leonardo, 2020
Cultural Analytics (C.A.) is an approach for analyzing media and digital culture using data metho... more Cultural Analytics (C.A.) is an approach for analyzing media and digital culture using data methods and visual computing techniques. This article explores the aesthetic value of C.A. by approaching cultural visualizations as digital artworks. The authors present a variety of techniques developed since 2007 by members of the C.A. lab for creating visualizations of media artifacts and collections of images. Through a series of projects conducted by them, the authors discuss the artistic meaning of media visualizations and their experience in art exhibitions, workshops and seminars. PDF available at: https://dl.acm.org/doi/pdf/10.1145/3386567.3388568
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Books by Everardo Reyes
This book studies interfaces as images and images as interfaces. It offers a comprehensible framework to study graphical representations of visual information. It explores the relationship between visual information and its graphical supports, taking into account contributions from fields of visual computing. Graphical supports are considered as material but also as formal aspects underlying the representation of digital images on the digital screen.
Design de systèmes hypermédia interactifs aborde les systèmes hypermédia d’un point de vue théorique et pratique, de façon à la fois originale et scientifique. Il traite de leurs manières de représenter et d’interagir avec l'information, et met l'accent sur leurs processus de conception. Les auteurs des systèmes y présentent la complexité des facteurs sous-jacente à l'aspect design, la mise en oeuvre et la maintenance des outils destinés à un usage humain.
A travers ces réflexions, cet ouvrage traite des questions qui mettent non seulement l’utilisateur, mais également la société, les enjeux modernes, les disciplines scientifiques et la culture, au coeur des systèmes hypermédia.
Chapters by Everardo Reyes
à des oeuvres reliant des informations dynamiques. Sur le plan
technique, le modèle des oeuvres hypermédia est constitué d’un
ensemble de variables et de paramètres liés, ainsi que de la
transmission de données logiques entre ses composants.
formes diverses pour matérialiser ses idées. La forme stabilise
une pensée, un processus ou une virtualisation, dans un support
matériel qui dépend des possibilités de la perception humaine.
L’art numérique explore des formes nouvelles par l’hybridation
des médias et par des modélisations algorithmiques.
à la réinterprétation d’ondes sonores disponibles dans un
environnement donné avec pour objectif de formuler un discours
esthétique. La particularité de l’art sonore réside dans les
vibrations qui traversent le corps humain et les objets matériaux,
tout en générant des réactions au-delà la contemplation visuelle.
media not only exist in form of software but the shape and properties of media are also designed with software. In order to understand the implications of computational media, it is necessary to re-articulate problems in a creative and virtual manner. At the end of the chapter, the author speculates on design approaches and presents some examples developed by him.
Papers by Everardo Reyes
This book studies interfaces as images and images as interfaces. It offers a comprehensible framework to study graphical representations of visual information. It explores the relationship between visual information and its graphical supports, taking into account contributions from fields of visual computing. Graphical supports are considered as material but also as formal aspects underlying the representation of digital images on the digital screen.
Design de systèmes hypermédia interactifs aborde les systèmes hypermédia d’un point de vue théorique et pratique, de façon à la fois originale et scientifique. Il traite de leurs manières de représenter et d’interagir avec l'information, et met l'accent sur leurs processus de conception. Les auteurs des systèmes y présentent la complexité des facteurs sous-jacente à l'aspect design, la mise en oeuvre et la maintenance des outils destinés à un usage humain.
A travers ces réflexions, cet ouvrage traite des questions qui mettent non seulement l’utilisateur, mais également la société, les enjeux modernes, les disciplines scientifiques et la culture, au coeur des systèmes hypermédia.
à des oeuvres reliant des informations dynamiques. Sur le plan
technique, le modèle des oeuvres hypermédia est constitué d’un
ensemble de variables et de paramètres liés, ainsi que de la
transmission de données logiques entre ses composants.
formes diverses pour matérialiser ses idées. La forme stabilise
une pensée, un processus ou une virtualisation, dans un support
matériel qui dépend des possibilités de la perception humaine.
L’art numérique explore des formes nouvelles par l’hybridation
des médias et par des modélisations algorithmiques.
à la réinterprétation d’ondes sonores disponibles dans un
environnement donné avec pour objectif de formuler un discours
esthétique. La particularité de l’art sonore réside dans les
vibrations qui traversent le corps humain et les objets matériaux,
tout en générant des réactions au-delà la contemplation visuelle.
media not only exist in form of software but the shape and properties of media are also designed with software. In order to understand the implications of computational media, it is necessary to re-articulate problems in a creative and virtual manner. At the end of the chapter, the author speculates on design approaches and presents some examples developed by him.
images-‐interfaces.
Cet
article
identifie
plusieurs
pistes
intéressantes
pour
de
futurs
travaux.
space is rewritten continuously. Throughout history there have been alternative methods for interacting with a sequence of frames. Pioneering techniques like chronophotography and
cyclography shared the same interests of recent artworks and scientific visualizations in capturing, tracing and representing movement in space. In this article, we introduce an experimental
approach to represent video artworks as 3D models in virtual environments. Our aim is to contribute to the possibilities offered by contemporary computing techniques to explore alternative
ways of interacting with motion media.
visualization called ‘media visualization’. The main characteristic
of this practice is to take into account the content of visual media
directly as a constituent part of the data visualization project.
Media visualization employs and develops image processing
techniques. It contributes to current efforts on the design of data
visualization such as diagrammatical representations, spatial
distribution of elements, combination of colors, or animated
behaviors. In this paper we describe ‘media visualization’:
principles, requirements and related work. We also show some
examples of media visualization developed by us within the
framework of visual analytics and media art.
always attracted the attention of artists. Hardware and software
are not only tools but also environments for expressiveness:
creators and users generate and interact with images; artistic styles
are recreated; spaces are reconstructed; static images mix with
animated images; 2D images blend with 3D models. Moreover,
digitally produced images can also be printed as physical objects
using rapid prototyping technologies. Within this context, artistic
practices remind us their relationship with crafts and skills. Artists
not only produce images and confront us with ideas about our
society and the world, but they also invent materials, discover
surfaces, combine techniques and define workflows. In this article
we adopt visual features as the materials for artistic digital
images. More precisely, we will try to describe the main
characteristics of visual features as well as some of their
implications. In the last part we present our current work on
motion structures as an experimental art form directly inspired
from visual features.
present some cases anchored on our own recent investigations to reveal and to study new plastic properties. From the standpoint of visual semiotics, we try to focus on semantics of indexical and symbolic signs that confer form to resulting visualizations.
As a vast literature indicates, the face is the most versatile interface of human interaction: most known societies simply could not function without faces. Through them, human beings manifest and perceive cognitions, emotions, and actions, being able, thus, to coordinate with each other. The centrality of the face is such that it is often attributed to non-human entities too, like animals, plants, objects, or even landscapes and, in certain circumstances, countries and cultural heritage. Symmetrically, defacing people literally means denying their faces, debasing their humanity. Such centrality of the face is the outcome of biological evolution, as well as the product of cultural post-speciation and social contextualization. On the one hand, as Darwin already showed in a seminal essay, the facial expression of some emotions, like shame, cannot be faked; on the other hand, countless cultural devices can alter faces, from makeup to tattoo, from hairdressing to aesthetic surgery.
The social centrality of the face manifests itself also in the omnipresence of its representations. The human brain is hardwired to detect face-shaped visual patterns in the environment, as the phenomenon of pareidolia or the syndrome of Charles Bonnet indicate; at the same time, most human cultures have extensively represented the human face in multifarious contexts, with several materials, and through different techniques, from the funerary masks of ancient Egypt until the hyper-realistic portraits of present-day digital art. Depicting the face, moreover, plays a primary role in religions, with Christianity setting the long-term influential tradition of a deity that shows itself through a human face whereas other traditions, like Judaism or Islam, strictly regulate the representation of the human countenance so as to avoid blasphemy.
Within this complex trans-historical and trans-cultural framework, the symposium essentially revolves around a straightforward hypothesis: since the face is so central in human behavior, facial images that are considered as produced by a non-human agency receive a special aura throughout history and cultures, as if they were endowed with extraordinary powers. Furthermore, since in many societies the face is read as the most important manifestation of interiority, ‘non man-made’ images of faces are attributed a status of authenticity and earnestness, as if they were the most sincere expression of some otherwise invisible agencies. So as to test this hypothesis, the symposium cross-fertilizes several methodologies.