Marcos A P Coutinho
Professor e artista com um vasto campo de atuação em mídias híbridas./Professor and artist with a wide field of action in hybrid media.
Doutor em Artes Tecnológicas pela UFMG/ -Doctor of Arts in Technological Poetics by UFMG-
Mestre em Cinema pela UFMG/-Master of Cinema by UFMG
Graduado em Cinema de Animação pela UFMG/- Graduated in Animation Cinema by UFMG
Graduado em Comunicação Social pela PUC-MG/-Graduated in Social Comunication by PUC-MG
Experienced artist, teacher and developer in traditional and technological arts. Having crossed several different media in his trajectory, from graphite drawing to procedural drawing, from instrumental music to electronics, from analog games to digital games, he is a generalist with a high power of adaptation to different styles. Able to use old techniques amalgamated with new technologies in a wide system integration. He bases his works on transdisciplinarity
Member of 1maginári0: Computational Poetics <http://www.1maginari0.art.br/>
Phone: 31994822011
Address: Rua Abre Campo 508, ap 402- Santo Antônio-Belo Horizonte, Minas Gerais, Brazil
Doutor em Artes Tecnológicas pela UFMG/ -Doctor of Arts in Technological Poetics by UFMG-
Mestre em Cinema pela UFMG/-Master of Cinema by UFMG
Graduado em Cinema de Animação pela UFMG/- Graduated in Animation Cinema by UFMG
Graduado em Comunicação Social pela PUC-MG/-Graduated in Social Comunication by PUC-MG
Experienced artist, teacher and developer in traditional and technological arts. Having crossed several different media in his trajectory, from graphite drawing to procedural drawing, from instrumental music to electronics, from analog games to digital games, he is a generalist with a high power of adaptation to different styles. Able to use old techniques amalgamated with new technologies in a wide system integration. He bases his works on transdisciplinarity
Member of 1maginári0: Computational Poetics <http://www.1maginari0.art.br/>
Phone: 31994822011
Address: Rua Abre Campo 508, ap 402- Santo Antônio-Belo Horizonte, Minas Gerais, Brazil
less
InterestsView All (15)
Uploads
Papers by Marcos A P Coutinho
Embora não tivéssemos a pretensão de respostas fáceis para uma pergunta deveras complexa com esta tese, partimos numa busca reflexiva acerca da transmutação de matérias nos moldes alquímicos, caminhando da pedra lascada aos bits, da arte rupestre à arte generativa.
Após um longo percurso permeado de estudos e indagações elaboramos o conceito de Alquimia Digital, em contraponto à Alquimia Clássica: o elemento que transmuta na Alquimia Clássica, é a pedra filosofal e, na Alquimia Digital é o bit, ou seja, Matéria Digital. Essa Matéria Digital é ao mesmo tempo instauradora e instaurada, É também, por vezes, autônoma, como na programação evolucionária, criando suas próprias leis formuladas em códigos binários.
Acreditamos, assim, que a matéria digital é a mônada essencial com a qual podem ser produzidas infindáveis possibilidades criativas na computação atual e que a manipulação deste bit, ontologicamente, através de um código de construção e de comportamento, pode ser considerada como a arte criada pela Alquimia Digital.
Assim, o alquimista/artista digital sempre procura uma forma de “produzir mundos” e concretiza isto por dispositivos materializantes de alguma simbolização através dos computadores e de todo um sistema de interfaces. Não obstante, muitas vezes, o resultado ultrapassa os seus limites técnicos e simbólicos demonstrando certo grau de autonomia/ e ou de regeneração e/ou geração, extrapolando a representação de mundos existentes tanto na natureza quanto no próprio imaginário. Ela hipostasia códigos tornando-os capaz de gerar, por si só, novos estados de Matéria Digital em processos recursivos e iterativos: o ourobouros.
Neste trabalho de tese procuramos demonstrar as transmutações de matéria da Alquimia Clássica à Alquimia Digital e as transformações que a computação oferece para a forma de se criar arte. A Alquimia Digital estabelece novas formas alquímicas, com a instauração dos mundos digitais. Estes existem e operam no interior da retorta do Alquimista Digital, o computador, instaurando realidades imaginárias artísticas ontologicamente e fenomenologicamente perceptíveis, mas constituídas de Matéria Digital.
information systems.
To study the language of film and the game was held a comparative
research from case studies of some works, notably: the movie "Rear Window" and "The Birds" of director Alfred Hitchcock, considered as representative the classic structure of the film, and games "Alone in the Dark" and "Fallout3." the theoretical on the cinema and digital game was articulated from the works of authors like Alberto Lucena Junior,
Pier Paolo Passolini, Julio Plaza, Claudia Gianetti, Edgar Calico, among many others.
To understand whether the observations made about the similarities and differences between the language of film and digital games have some practical functionality, developed a document "game design" game "Crazy Train." This document aims to demonstrate how was the process of creating a digital prototype of the game from the aesthetics of cinema and narrative computer language, discussed in this paper and applied to the construction of the game.
Books by Marcos A P Coutinho
meus artigos:
Poéticas computacionais em sistemas móveis multidispositivos com topologias variadas p.293
Alquimia digital p.300
Thesis Chapters by Marcos A P Coutinho
Although we did not have the pretense of easy answers to a very complex question with this thesis, we set out on a reflexive search for the transmutation of materials in the alchemical molds, moving from the chipped stone to the bits, from rock art to generative art.
After a long journey permeated by studies and inquiries, we elaborated the concept of Digital Alchemy, as opposed to Classical Alchemy: the element that transmutes in Classical Alchemy, is the philosopher's stone, and in Digital Alchemy is the bit, that is, Digital Matter. This Digital Matter is both instituting and established, it is also sometimes autonomous, as in evolutionary programming, creating its own laws formulated in binary codes.
We believe, therefore, that digital matter is the essential monad with which endless creative possibilities can be produced in today's computing and that the manipulation of this bit, ontologically, through a code of construction and behavior, can be considered as the art created by Digital Alchemy.
Thus, the alchemist / digital artist always looks for a way to "produce worlds" and concretizes this by materializing devices of some symbolization through computers and an entire system of interfaces. Nevertheless, the result often surpasses its technical and symbolic limits demonstrating a certain degree of autonomy / e or regeneration and / or generation, extrapolating the representation of existing worlds both in nature and in the imaginary itself. It hypóstasys codes making them capable of generating, by itself, new states of Digital Matter in recursive and iterative processes: the orrobouros.
In this thesis we try to demonstrate the transmutations of matter from Classical Alchemy to Digital Alchemy and the transformations that computation offers to the way of creating art. Digital Alchemy establishes new alchemical forms, with the establishment of digital worlds. These exist and operate within the retort of the Digital Alchemist, the computer, establishing imaginary artistic realities ontologically and phenomenologically perceptible, but constituted of Digital Matter.
Embora não tivéssemos a pretensão de respostas fáceis para uma pergunta deveras complexa com esta tese, partimos numa busca reflexiva acerca da transmutação de matérias nos moldes alquímicos, caminhando da pedra lascada aos bits, da arte rupestre à arte generativa.
Após um longo percurso permeado de estudos e indagações elaboramos o conceito de Alquimia Digital, em contraponto à Alquimia Clássica: o elemento que transmuta na Alquimia Clássica, é a pedra filosofal e, na Alquimia Digital é o bit, ou seja, Matéria Digital. Essa Matéria Digital é ao mesmo tempo instauradora e instaurada, É também, por vezes, autônoma, como na programação evolucionária, criando suas próprias leis formuladas em códigos binários.
Acreditamos, assim, que a matéria digital é a mônada essencial com a qual podem ser produzidas infindáveis possibilidades criativas na computação atual e que a manipulação deste bit, ontologicamente, através de um código de construção e de comportamento, pode ser considerada como a arte criada pela Alquimia Digital.
Assim, o alquimista/artista digital sempre procura uma forma de “produzir mundos” e concretiza isto por dispositivos materializantes de alguma simbolização através dos computadores e de todo um sistema de interfaces. Não obstante, muitas vezes, o resultado ultrapassa os seus limites técnicos e simbólicos demonstrando certo grau de autonomia/ e ou de regeneração e/ou geração, extrapolando a representação de mundos existentes tanto na natureza quanto no próprio imaginário. Ela hipostasia códigos tornando-os capaz de gerar, por si só, novos estados de Matéria Digital em processos recursivos e iterativos: o ourobouros.
Neste trabalho de tese procuramos demonstrar as transmutações de matéria da Alquimia Clássica à Alquimia Digital e as transformações que a computação oferece para a forma de se criar arte. A Alquimia Digital estabelece novas formas alquímicas, com a instauração dos mundos digitais. Estes existem e operam no interior da retorta do Alquimista Digital, o computador, instaurando realidades imaginárias artísticas ontologicamente e fenomenologicamente perceptíveis, mas constituídas de Matéria Digital.
information systems.
To study the language of film and the game was held a comparative
research from case studies of some works, notably: the movie "Rear Window" and "The Birds" of director Alfred Hitchcock, considered as representative the classic structure of the film, and games "Alone in the Dark" and "Fallout3." the theoretical on the cinema and digital game was articulated from the works of authors like Alberto Lucena Junior,
Pier Paolo Passolini, Julio Plaza, Claudia Gianetti, Edgar Calico, among many others.
To understand whether the observations made about the similarities and differences between the language of film and digital games have some practical functionality, developed a document "game design" game "Crazy Train." This document aims to demonstrate how was the process of creating a digital prototype of the game from the aesthetics of cinema and narrative computer language, discussed in this paper and applied to the construction of the game.
meus artigos:
Poéticas computacionais em sistemas móveis multidispositivos com topologias variadas p.293
Alquimia digital p.300
Although we did not have the pretense of easy answers to a very complex question with this thesis, we set out on a reflexive search for the transmutation of materials in the alchemical molds, moving from the chipped stone to the bits, from rock art to generative art.
After a long journey permeated by studies and inquiries, we elaborated the concept of Digital Alchemy, as opposed to Classical Alchemy: the element that transmutes in Classical Alchemy, is the philosopher's stone, and in Digital Alchemy is the bit, that is, Digital Matter. This Digital Matter is both instituting and established, it is also sometimes autonomous, as in evolutionary programming, creating its own laws formulated in binary codes.
We believe, therefore, that digital matter is the essential monad with which endless creative possibilities can be produced in today's computing and that the manipulation of this bit, ontologically, through a code of construction and behavior, can be considered as the art created by Digital Alchemy.
Thus, the alchemist / digital artist always looks for a way to "produce worlds" and concretizes this by materializing devices of some symbolization through computers and an entire system of interfaces. Nevertheless, the result often surpasses its technical and symbolic limits demonstrating a certain degree of autonomy / e or regeneration and / or generation, extrapolating the representation of existing worlds both in nature and in the imaginary itself. It hypóstasys codes making them capable of generating, by itself, new states of Digital Matter in recursive and iterative processes: the orrobouros.
In this thesis we try to demonstrate the transmutations of matter from Classical Alchemy to Digital Alchemy and the transformations that computation offers to the way of creating art. Digital Alchemy establishes new alchemical forms, with the establishment of digital worlds. These exist and operate within the retort of the Digital Alchemist, the computer, establishing imaginary artistic realities ontologically and phenomenologically perceptible, but constituted of Digital Matter.