![]() ![]() ![]() Gallery-based hypercomics are shown to draw on approaches originally established within digital formats to meet the challenges of architectural mediality. The thesis concludes that different digital comic formats place greater or lesser emphasis on the seven identified characteristics of the form. A further game comic prototype is constructed to examine the integration of audible, time-based soundtracks. A series of prototype game comics is created to investigate the hybridisation of comics with the ludic qualities of videogames. Similarities between digital and architecturally mediated formats are considered. The operation of a range of different formats of digital comic (webcomic infinite canvas malleable page guided view motion comic hypercomic game comic audible comic) is analysed. A cross-disciplinary, practice-based methodology is used to examine the impact of digital mediation on these seven characteristics. Eisner McCloud), a model of comics is developed based on seven key characteristics of the form: space as time simultaneous juxtaposition of images closure between images spatial networks reader control of pacing tablodic images word and image blending. Cohn Groensteen Hatfield Miodrag) and practitioner-theorists (e.g. Through an analysis of the work of theorists (e.g. This thesis examines the impact of digital mediation and hybridisation on the form of comics. The form of comics is undergoing a transition as digital display becomes an increasingly popular mode of consumption. We offer a brief analysis of the pattern of solutions (including vector and pixel- based systems, as well as more poetic approaches), which have emerged in response to the "Human Fax Machine" challenge, and consider these in light of recent perspectives on information theory. Our presentation outlines the processes we employ in setting up this game-like activity - which we have nicknamed "The Human Fax Machine" - and compares several iterations of it within different undergraduate and masterclass situations. The students must work with only the simplest sound effects (rattling a jar full of seeds, scratching a metal plate, etc.). They must invent a system for transmitting an image across a visual barrier using only the medium of sound. The students are posed a conceptual problem. This paper discusses a specific experiment in teaching aspects of the programmatic mind-set without computers - without any literal reference to code. ![]() Without altogether rejecting the model of computational solipsism, there is a vital need to introduce fundamental features of computation via other more socially oriented and human-collaborative means. The problem with this approach is that as computing is becoming less focused on this kind of disembodied, isolated interaction (as it becomes locative, mobile and socially directed and embedded) we still insist upon forms of engagement that many students find alienating and uninteresting. They rely on the standard model of students writing actual code, struggling with errors and staring at screens. While there are all sorts of contemporary efforts to make programming accessible - through a focus on graphic experimentation and the like - these efforts typically approach the problem very literally. One of the major challenges in teaching computational art to creative arts students lies in finding effective means to convey features of system, algorithm and instruction in an interesting and engaging manner.
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