Abstract
The work recently bestowed the Human AI Art Award features a human stand-in for now-ubiquitous AI assistants, prompting critical reflection on our evolving relationship with emerging technologies. As narrated by the exhibition curator, the performative installation challenges contemporary perceptions of AI, surveillance, and its integration into our daily lives.

Abstract
Traditional design promotes abundant, inexpensive, and disposable ways to create that are not compatible with sustainability. The authors explore alternatives to this paradigm by comparing a virtual reality sketch method with a new approach inspired by the traditional Japanese concept Wabi-Sabi. An experiment limited users’ amount of virtual paint and removed users’ ability to erase, and while participants’ creative approaches and processes changed, they were satisfied with the results. Combining Wabi-Sabi with digital technologies provides a concrete opportunity to “go forward” by incorporating sustainable considerations in practice and in the development of tools for digital artists and creators.

Abstract
In this article, the author engages in a cross-disciplinary analysis of creativity from the perspective of etymology Through insights from neuroscience, diachronic linguistics, and literary studies, she analyzes associative and derivative patterns inherent in creative processes, such as the development of art, language, and language arts, which generate not only new images and words but new perspectives and means of expression. She raises questions about how these patterns simultaneously bear witness to human creativity and contribute to the creative process. The article concludes by discussing the potential for etymologies to catalyze creativity in art, writing, and science.

Abstract
This paper endeavors to investigate how we can understand creativity concerning computation by rearticulating imagination in artistic practices. Drawing on Yuk Hui’s concept of artificial imagination and Bernard Stiegler’s thinking on organology the paper uses the Choi Hung Estate project as a case study demonstrating the potential of Gaussian splatting as a supplement for the imagination in producing dynamic, interactive digital artworks that open the path for conceiving collective memories. By thinking of creativity and beyond computation, the paper unpacks the possibilities for re-grounding the philosophical foundation of Gaussian splatting from an organological perspective.

Abstract
Targets of projection mapping have recently been extended beyond inanimate objects to include plants and animals. However, it is difficult to project images onto such dynamic and deformable targets. We propose systems that perform real-time tracking with image processing and generate aesthetic effects and animations accoring to the target area and interactions with the targets. Our results showcase the potentia of dynamic projection mapping onto plants and animals in art and entertainment.

Abstract
Takis (1925–2019) has been hailed for his contributions to the kinetic art movement of the mid-twentieth century, but reexamining his work through an ecological lens yields new insights into his practice. Drawing upon developments in new materialism, the author offers an ecocritical reading of the artist’s engagements with magnets, proposing that by emphasizing the agency of nonliving matter, Takis’s work could contribute to the urgent task of fostering an embodied ecological ethics.

Abstract
This paper examines cinemagraphs, a unique hybrid of photography and video, and their impact on time perception within the photographic medium. It explores photography’s evolution from capturing a frozen moment to depicting the duration of an instant. The analysis focuses on the sensory impact of cinemagraphs, particularly their ability to engage viewers through the introduction of subtle motion. This interference disrupts our understanding of time, rhythm, and narrative within a seemingly static image. Selected examples demonstrate cinemagraphs’ impact on time perception and narrative duration, highlighting their potential to challenge traditional visual boundaries and adapt to diverse artistic visions.

Abstract
The author’s unique arts-science research experience in visualizing complex mouse brain data underscores the need to incorporate increasingly popular STEAM curricula into standard education. This is a view that many others, both students and professors, have shared after achieving their own successes in improving learning and accessibility through STEAM methods. These successes also show the importance of incorporating the arts into STEM education. In this article, the author discusses her data visualization in the context of advocating for STEAM education and transdisciplinary collaborations.

Abstract
In the 1940s Nikolai Kaario, an artist and a decorative painter, discovered seemingly old images on house walls in Turku, Finland. These findings generated considerable interest in the press. The Archeological Commission of Finland evaluated them, concluding that the images were not medieval and were made unconsciously by Kaario. Despite the Commission’s findings, the dispute did not abate. Severa other people also found similar images on the walls of old houses in Turku, even after Kaario’s death. The authors review these events and suggest that they reflect the effects of pareidolia.

Abstract
Interactive art is evolving toward a more-than-human perspective, embracing the significance and opportunities of involving nonhuman participants. This raises questions about the forms and types of interactions applied in such artworks. To capture and analyze interactions facilitated by interspecies artworks, the authors apply a relational model that they originally developed for describing human co-located interaction. By uncovering patterns in the roles of human and nonhuman elements within these artworks, the authors demonstrate that the relational model is effective not only in analyzing such interactions but also in proposing novel roles for future more-than-human interactive art.