Thematische Bibliographien / Digital art and aesthetics

Auswahl der wissenschaftlichen Literatur zum Thema „Digital art and aesthetics“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 8. Februar 2022

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Zeitschriftenartikel zum Thema "Digital art and aesthetics":

Lopes, Dominic McIver. „Aesthetics of Interaction in Digital Art“. British Journal of Aesthetics 55, Nr. 2 (09.09.2014): 261–63. http://dx.doi.org/10.1093/aesthj/ayu040.

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CROWTHER, PAUL. „Ontology and Aesthetics of Digital Art“. Journal of Aesthetics and Art Criticism 66, Nr. 2 (März 2008): 161–70. http://dx.doi.org/10.1111/j.1540-6245.2008.00296.x.

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CROWTHER, PAUL. „Ontology and Aesthetics of Digital Art“. Journal of Aesthetics and Art Criticism 66, Nr. 2 (März 2008): 161–70. http://dx.doi.org/10.1111/j.1540-594x.2008.00296.x.

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Denikin, Anton A. „Post-Digital Aesthetics in the Art Practices of the Digital Art“. Observatory of Culture 14, Nr. 1 (01.01.2017): 36–45. http://dx.doi.org/10.25281/2072-3156-2017-14-1-36-45.

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Gintere, Ieva. „ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME“. SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (20.05.2020): 649. http://dx.doi.org/10.17770/sie2020vol5.4817.

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The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future. This paper continues previously published research that helped to create the concept and design of Art Space, and focuses on the trends of photorealism and futurism.

Holgate, John. „Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?“ Proceedings 47, Nr. 1 (15.05.2020): 54. http://dx.doi.org/10.3390/proceedings47010054.

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The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.

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Philipsen, Lotte. „Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics“. A Peer-Reviewed Journal About 3, Nr. 1 (01.06.2014): 120–30. http://dx.doi.org/10.7146/aprja.v3i1.116092.

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This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience.

Gintere, Ieva. „A NEW DIGITAL ART GAME: THE ART OF THE FUTURE“. SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (21.05.2019): 346. http://dx.doi.org/10.17770/sie2019vol4.3674.

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The task of this study is to create an innovative digital art game of contemporary aesthetics on the basis of research. Research implies the analysis of digital art games and the historical background of their aesthetics, as well as their classification following the stylistic trends. Digital games have a great potential to integrate people into fields that would otherwise not meet their interest. The new game would develop the creative skills of players and teach them the current trends in digital art. The game would project the inheritance of art from the age of modernism into the digital world by teaching the player to recognize it (for instance, pixel aesthetics is a successor to cubism and constructivism). The new game will let its user play around with the trends in digital art such as vaporwave, glitch and others, and to create new ones. Thus, it would deal with the problem of knowledge cache and cultural segregation that characterizes modern art: being an esoteric subject to a great extent, it is difficult to access a large segment of the public. The aim of this study is to raise the interest of a wide-ranging public for contemporary art and to point out the newest creative tendencies in art. The paper presents an overview of digital art games, introduces a novel term, vaporwave, that has not been registered in the art game discourse so far, and offers an updated definition of the art game. The Design Science Research method is used in order to cross-cut such remote fields as the general public and the arthouse world, codes of modern art and the taste of the general public.

Susca, Vincenzo. „Open-air museums: digital cultures, aesthetics and everyday life“. Vista, Nr. 7 (15.04.2021): e021003. http://dx.doi.org/10.21814/vista.3165.

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At a time when everything becomes art, art no longer belongs to itself, to the point of overflowing from the frames that have enclosed it for several centuries – museums, galleries, churches – with unprecedented effects not only in the field of aesthetics, but above all in ordinary life. To understand this in depth, it is necessary to take into account the digital reproducibility of the work of art as a dynamic that upsets the relationship between work and spectator, subject and object, politics and everyday life. From the second half of the 18th century onwards, we saw a dynamic of "aestheticization of the public" parallel to the birth of the cultural industry and, therefore, the transformation of culture into merchandise. It is an ambiguous process, as it implies the emergence of the mass as the central subject of our culture, but also its definitive reification. What about aesthetics in such a condition? This study explores the genology and history of this process by updating Walter Benjamin's thinking in relation to the cultural emergencies of our time. In particular, it seems essential to understand what happens to the aura in the context of a condition in which the aesthetic object, the work of art and, more generally, the area that concerns beauty is available, used and consumed in everyday life, to the point of placing our cities as "open air museums".

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Dissertationen zum Thema "Digital art and aesthetics":

Chan, Ching-yan Janet. „On digital aesthetics scrutinizing aesthetic studies in the digital era /“. Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B30681893.

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Chan, Ching-yan Janet, und 陳靜昕. „On digital aesthetics: scrutinizing aestheticstudies in the digital era“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B30681893.

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Ho, King Tong. „The poetics of making a new cross-cultural aesthetics of art making in digital art through the creative integration of Western digital ink jet printmaking technology with Chinese traditional art substrates : this exegesis is submitted to AUT University in partial fulfillment of the degree of Doctor of Philosophy“. Click here to access this resource online, 2007. http://hdl.handle.net/10292/333.

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Valiquet, Patrick Joseph. „'The digital is everywhere' : negotiating the aesthetics of digital mediation in Montreal's electroacoustic and sound art scenes“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:356cdab4-c690-4eb8-9558-3ae80e51d2df.

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In this thesis I argue that the relationship between the increasing ubiquity of digital audio technologies and the transformation of aesthetic hierarchies in electroacoustic and sound art traditions is not deterministic, but negotiated by producers and policy-makers in specific historical and cultural contexts. Interviews, observations, and historical data were gathered during sixteen months of ethnographic fieldwork in the Canadian city of Montreal between 2011 and 2012. Research was conducted and analysed in collaboration with a transnational group of researchers on a programme of comparative research that tracked global changes to music and musical practice associated with digital technologies. The introduction presents Montreal as a rich ecology in which to track struggles for aesthetic authority, detailing its history as a key site of electroacoustic and sound art production, and its local positioning as a politically strategic 'hub' for the Canadian culture industry. Core chapters examine the specific role of digital mediation in the negotiation of electroacoustic and sound art aesthetics from multiple interlocking perspectives: the recursive relationship between technological affordances and theories of mediation; the mobilisation of digital technologies in the delineation of cultural, professional and generational territories; the political contestation of digital literacies and pedagogies; the articulation of the digital's opposition with analogue in the construction of instruments and recording formats; and the effects of the digital on the dynamics of genre and genre hierarchies. The concluding chapter offers a critique of the notion that digital mediation has shifted the balance between the normative and the generative dimensions of genrefication in the scenes in question, and closes by suggesting how a better understanding of this shift at an empirical level can inform an ongoing rethinking of the interaction between technology and aesthetics among scholars, policy makers, and musicians.

Ednie-Brown, Pia Hope, und pia@rmit edu au. „The aesthetics of emergence“. RMIT University. Architecture and Design, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080804.161628.

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Principles of design composition are commonly understood to pertain to geometrical systems for arranging parts in assembling a formal whole. Connection to socio-cultural 'meaning' and relevance arguably occurs primarily via the assumed divinity or universality of these systems. In the contemporary architectural world, where explicitly held beliefs in fundamental, geometrically defined principles or values have dissipated, guiding principles of composition appear to be obsolete. This seems particularly true in relation to work that highlights process - or change, responsiveness, interactivity and adaptability - since this implies that the composition remains in flux and unable to be grounded in the composition of form. While processually inflected architecture (referred to here as 'processual architecture'), has been an active field since at least the 1960s, it has been significantly developed since design experiments involving digital computation intensified in t he 1990s. For this field of work, both highly celebrated and criticised as superficial or unethical, any connection to 'meaning' or value that might be offered by principles of composition would appear especially lost. This thesis reviews, counterpoises and reorients these assumptions, arguing a case for the value of processual architectural that has not been previously articulated. After the last 10 to 15 years of digital experimentation, it is clear that digital technology in itself is not the primary issue, but simply part of a complex equation. The thesis articulates this 'equation' through the model of emergence, which has been used in the field with increasing prominence in recent years. Through both practice-based research and theoretical development, a processually inflected theory of composition is proposed. This offers pathways through which the potential of processual architecture might be productively developed, aiming to open this field of work into a deeper engagement with pressing contemporary socio-political issues. The thesis demonstrates how the cultivation of particular modes of attention and engagement, found to hold an implicit but nevertheless amplified significance within processual architecture, make it possible to develop an embodied awareness pertaining to an 'ethico-aesthetic know-how'. This know-how is acquired and matured through attention to the affective dimensions that arise through design activity. The thesis highlight aspects of design process and products that are routinely suppressed in architectural discourse, generating new insights into the importance of affect for design process, design products and the relations between them. The ethical dimensions of such an approach become especially poignant through the explicit connection made between design activity and the practices of everyday life. Relationships between architecture and the social become re-energised, in a radically alternative manner to the social agendas of modernism or the more literary critiques of post-modernism. Through detailed discussions of the specific, local conditions with a series of design projects I have undertaken, I argue how and why close attention to the affective dimensions of design process offers new and productive ways to approach research through design practice. This offers a response to the calls for new 'post-critical' forms of research through empowering both sides of a previously held divide: theory and practice.

Sniadecki, John Paul. „Digital Jianghu: Independent Documentary in a Beijing Art Village“. Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.

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My ethnography explores the independent documentary film community in Songzhuang, an artist village in Beijing's Tongzhou District. Through participant-observation, interviews, participation in festivals, and my own filmmaking practice, I describe filmmakers and festival organizers as cultural producers endeavoring to work outside the confines of both the government and the mainstream cinema industry. To offer an analysis of the social, political, economic, and ethical conditions of this independent film community, my study also focuses on concrete practices of filmmakers and film supporters; privately-owned centers and social networks that enable the production, exhibition, and distribution of films; and the relationship between this community and government regulation. I argue that the independent documentary community constitutes a jianghu (literally, “rivers and lakes”), which, drawing from Chinese literature, I delimit as a social world of marginality and resistance against the status quo. Further, jianghu refers not only to independent filmmakers, but also to millions of “migrants” within the Chinese population who, even as they provide labor that fuels development, nonetheless subsist on the margins. This study also considers the efforts of filmmakers and scholars to elucidate a Chinese visual aesthetic, which has been called xianchang (“on the spot”) and, most recently, jingguan dianying (“quiet observational cinema”). These indigenous framings counter eurocentric notions of documentary and prevail among the majority of independent directors as an aesthetic wellsuited to represent the “cruelty of the social,” a term I introduce to describe social suffering born not only of China’s modern history of pain but also its contemporary turbulent era. I draw together the issues of distribution, social impact, and economic stability for independent documentary, as well as document the role of the state in quelling, censoring, and co-opting independent film. I conclude by exploring xianchang and my own filmmaking practice as advancing a form of knowledge that, owing to its experiential quality and its refusal to simplify and reduce phenomena into cultural data, is well-suited to represent the inherent complexity of Chinese society. Finally, a coda documents recent government oppression and festival cancellations to argue that the current moment is one of grave uncertainty for Chinese independent film.
Anthropology

Kenning, Gail Joy Art College of Fine Arts UNSW. „Pattern as process: an aesthetic exploration of the digital possibilities for conventional, physical lace patterns“. Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/39898.

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Pattern is a familiar concept ever present in our daily lives, existing in many material forms, observable in varied states, and able to be created from a diverse range of processes and events. Natural pattern forms, such as biological and chemical patterns, have been extensively studied, often within the digital environment because of its capacity to process large amounts of data which aids investigation of not only their characteristics but their potentiality. However, human designed physical patterns, while having been investigated extensively in terms of their historical, geographic and cultural significance and their aesthetic and/or mathematical characteristics, have not been fully investigated in terms of their evolutionary potential. This project explores one example of human designed physical patterns, crochet lace patterns ??? which have remained largely stable and consistent throughout various technological transformations such as the industrial revolution ??? in order to explore pattern as a process and investigate the potential for these patterns to become emergent. This exploration translated the patterns into the digital environment where, as data, the patterns become available for manipulation using a generative art practice approach. By translating the patterns into a digital environment and engaging with the pattern forms at their systematic core, where crochet pattern instructions and software programming scripts operate similarly as ???code???, this research provided a deeper understanding of the patterns and allowed exploration of whether a pattern???s developmental path can be altered to create new emergent patterns. This research draws on systems theory and systems aesthetics and their application within contemporary generative art practice and informs visual arts in several areas including showing how aesthetic values shift as work becomes cross-disciplinary and enters the digital environment, and how the introduction and location of innovation affects the relationship between the original and its copy.

Gazana, Cleber [UNESP]. „Glitch Art: uso do erro digital como procedimento artístico e possibilidade estética“. Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/136255.

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Submitted by CLEBER GAZANA (clebergazana@gmail.com) on 2016-03-13T16:11:00Z No. of bitstreams: 1 cleber_gazana_dis_me_unesp_glitch_art.pdf: 22450806 bytes, checksum: 1ff9ea658df80665b9bdecf854bb12e5 (MD5)
Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-03-14T22:39:59Z (GMT) No. of bitstreams: 1 gazana_c_me_ia_par.pdf: 1834545 bytes, checksum: 9ab6d42f3a3b8f8870f06e3404ffe295 (MD5)
Made available in DSpace on 2016-03-14T22:39:59Z (GMT). No. of bitstreams: 1 gazana_c_me_ia_par.pdf: 1834545 bytes, checksum: 9ab6d42f3a3b8f8870f06e3404ffe295 (MD5) Previous issue date: 2016-02-17
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta pesquisa tem como objetivo constatar a possibilidade e potencialidade estética por meio do uso do erro digital e de usos não projetados dos dispositivos técnicos e softwares na Glitch Art. Por ser um tema quase inédito, foi importante explicar o significado dos termos tilt, bug, failure, fault, error e mistake em relação ao campo técnico e artístico da Glitch Art, à sua prática e a nossa experiência, assim como a definição do termo glitch e de seu uso como designação deste recente gênero artístico. Seguiu-se para a investigação de suas bases fundamentais, classificações, características visuais, procedimentos artísticos, relação com o passado da arte, seus artistas visuais mais expressivos e sua aplicação para além da arte digital. Para tanto, este trabalho apoiou-se, principalmente, nos pensamentos de Moradi, Manon, Temkin e Menkman nos aspectos exclusivos da Glitch Art. Por fim, de modo teórico-prático, resultou a criação da obra Decode, de minha autoria, onde se dialogou e se experienciou as teorias e os procedimentos aqui discutidos.
This research aims to verify the possibility and aesthetic potential through the use of digital error and not designed uses of technical devices and software in Glitch Art. For being an almost unheard subject, it was important to explain the meaning of tilt, bug, failure, fault, error and mistake terms in relation to the technical and artistic field of Glitch Art, its practice and our experience as well the definition of glitch term and its use as designation of this recent artistic genre. We proceed to the investigation of its fundamental basis, classifications, visual characteristics, artistic procedures, relationship with the past of art, its more expressive visual artists and its application beyond the digital art. Therefore, this research grounds on mainly thoughts of Moradi, Manon, Temkin, and Menkman in exclusive aspects of Glitch Art. Finally, with theoretical and practical way has resulted in the creation of my own work Decode, where was connected and experienced the theories and procedures discussed herein.

Fontaine, Chantale. „Channeling Aesthetics in the Digital Realm: Designing Virtual Homes for the Artists of Folkvine.org“. Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/708.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
B.A.
Bachelors
Arts and Sciences
Art

Woodger, Jeff Robert University of Ballarat. „An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)“. University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12791.

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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."
Doctor of Philosophy

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Bücher zum Thema "Digital art and aesthetics":

Berry, David M., und Michael Dieter. Postdigital aesthetics: Art, computation and design. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.

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Holtzman, Steven R. Digital mosaics: The aesthetics of cyberspace. New York: Simon & Schuster, 1997.

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Trodd, Tamara Jane. The art of mechanical reproduction: Technology and aesthetics from Duchamp to the digital. Chicago: University of Chicago Press, 2015.

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Drucker, Johanna. SpecLab: Digital aesthetics and projects in speculative computing. Chicago: University of Chicago Press, 2009.

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Campanelli, Vito. Web aesthetics: How digital media affect culture and society. Rotterdam: NAi Publishers, 2010.

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Fuller, Matthew. Media ecologies: Materialist energies in art and technoculture. Cambridge, Mass: MIT Press, 2005.

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Fuller, Matthew. Media ecologies: Materialist energies in art and technoculture. Cambridge, Mass: MIT Press, 2005.

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Ye, Jinrui. Shu wei mei xue?: Dian nao shi dai de yi shu chuang zuo ji wen hua chao liu pou xi = Digital aesthetics? 8. Aufl. Taibei Shi: Yi shu jia chu ban she, 2008.

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Migunov, A. S. Algoritmicheskai︠a︡ ėstetika. Sankt-Peterburg: Aleteĭi︠a︡, 2010.

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Burda, Hubert. The digital Wunderkammer: 10 chapters on the Iconic Turn. Herausgegeben von Kittler Friedrich A. Munich: Wilhelm Fink, 2011.

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Buchteile zum Thema "Digital art and aesthetics":

Fazi, M. Beatrice, und Matthew Fuller. „Computational Aesthetics“. In A Companion to Digital Art, 281–96. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118475249.ch11.

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Cubitt, Sean. „Aesthetics of the Digital“. In A Companion to Digital Art, 265–80. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118475249.ch10.

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Bense, Max. „Small Abstract Aesthetics“. In A Companion to Digital Art, 247–64. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118475249.ch9.

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Swale, Alistair D. „Anime as Art: Digital Cinema and the Anime Aesthetic“. In Anime Aesthetics, 120–40. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463357_7.

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Crowther, Paul. „The Emergence of Digital Art“. In Digital Art, Aesthetic Creation, 36–63. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies: Routledge, 2018. http://dx.doi.org/10.4324/9780429467943-4.

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Crowther, Paul. „Digital Plasticity and Its Objects“. In Digital Art, Aesthetic Creation, 64–95. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies: Routledge, 2018. http://dx.doi.org/10.4324/9780429467943-5.

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Knight, Linda. „Digital Aesthetics and Multidimensional Play in Early Childhood“. In Communities of Practice: Art, Play, and Aesthetics in Early Childhood, 133–51. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70644-3_9.

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Crowther, Paul. „A Methodological Prologue“. In Digital Art, Aesthetic Creation, 1–5. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies: Routledge, 2018. http://dx.doi.org/10.4324/9780429467943-1.

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Crowther, Paul. „Introduction“. In Digital Art, Aesthetic Creation, 6–19. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies: Routledge, 2018. http://dx.doi.org/10.4324/9780429467943-2.

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Crowther, Paul. „Machine-Being“. In Digital Art, Aesthetic Creation, 20–35. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies: Routledge, 2018. http://dx.doi.org/10.4324/9780429467943-3.

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Konferenzberichte zum Thema "Digital art and aesthetics":

Gintere, Ieva. „ART SPACE: AN INNOVATIVE DIGITAL GAME OF MODERN AESTHETICS“. In 13th annual International Conference of Education, Research and Innovation. IATED, 2020. http://dx.doi.org/10.21125/iceri.2020.0388.

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Bowen, Jonathan P., Tula Giannini und Gareth Polmeer. „Coded Communication: Digital Senses and Aesthetics, Merging Art and Life“. In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.1.

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Gao, Lin. „Enrichment and Development of Film Aesthetics by Digital Long Take“. In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.162.

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Gintere, Ieva. „Fusing Art Game And Edugame: An Innovative Digital Game Of Modern Aesthetics“. In 11th International Conference on Education and Educational Psychology. European Publisher, 2020. http://dx.doi.org/10.15405/epiceepsy.20111.20.

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Polmeer, Gareth. „Sublating Time: Hegel’s speculative philosophy and digital aesthetics“. In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.49.

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Jinbo Xu, Qifang Gong und Yating Lei. „Research on aesthetic evolution caused by digital art“. In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5374919.

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Kim, Hyunil C., und Hyung-Gi Kim. „Temporal Elements of Aesthetic Experience in Interactive Media Art“. In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.113.23.

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Pulejkova, Kristina. „The Future Human: Exploring Posthuman Aesthetics through Digital and Immersive Technologies“. In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.46.

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Kim, Taeyeon. „The Aesthetic Evaluation of Digital Games as an Art Form: Analysis with Heidegger's Art Theory“. In Games and Graphics 2014. Science & Engineering Research Support soCiety, 2014. http://dx.doi.org/10.14257/astl.2014.65.08.

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Cho, Wonjun, Eunkyung Kim und Hohyun Lee. „Is (Infinite Challenge) the Art of Work: Focused on our traditional aesthetic theory Sinmyoung“. In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2016. Science & Engineering Research Support soCiety, 2016. http://dx.doi.org/10.14257/astl.2016.125.03.

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Berichte der Organisationen zum Thema "Digital art and aesthetics":

Goetzmann, William, Elena Mamonova und Christophe Spaenjers. The Economics of Aesthetics and Three Centuries of Art Price Records. Cambridge, MA: National Bureau of Economic Research, August 2014. http://dx.doi.org/10.3386/w20440.

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Lapolla, Kendra, Jaclyn Gordyan und Brian Lapolla. Critiquing Design Aesthetics in Collaborative Fashion Creation: Design Conversations with a Fashion Designer, an Architect, and Art Director. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-901.

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Dubois, Marie-Claude, und Miljana Horvat. State-of-the-Art of Digital Tools Used by Architects for Solar Design. IEA Solar Heating and Cooling Programme, September 2010. http://dx.doi.org/10.18777/ieashc-task42-2010-0001.

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Campos Freire, F., und N. Alonso Ramos. Online digital social tools for professional self-promotion. A State of the Art review. Revista Latina de Comunicación Social, März 2015. http://dx.doi.org/10.4185/rlcs-2015-1047en.

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Stephen Goss, Stephen Goss. Youth on the Move: Re-Storying Urban Communities with Public Art and Digital Media. Experiment, November 2016. http://dx.doi.org/10.18258/8558.

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Parsons, Jean L., Jessica L. Ridgway und Lauren Tofflemire. With a Theme, as a Team, for a Client: A Digital Textile Design Commissioned Art Project. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-471.

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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, Januar 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

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What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.

Baral, Aniruddha, Jeffery Roesler und Junryu Fu. Early-age Properties of High-volume Fly Ash Concrete Mixes for Pavement: Volume 2. Illinois Center for Transportation, September 2021. http://dx.doi.org/10.36501/0197-9191/21-031.

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High-volume fly ash concrete (HVFAC) is more cost-efficient, sustainable, and durable than conventional concrete. This report presents a state-of-the-art review of HVFAC properties and different fly ash characterization methods. The main challenges identified for HVFAC for pavements are its early-age properties such as air entrainment, setting time, and strength gain, which are the focus of this research. Five fly ash sources in Illinois have been repeatedly characterized through x-ray diffraction, x-ray fluorescence, and laser diffraction over time. The fly ash oxide compositions from the same source but different quarterly samples were overall consistent with most variations observed in SO3 and MgO content. The minerals present in various fly ash sources were similar over multiple quarters, with the mineral content varying. The types of carbon present in the fly ash were also characterized through x-ray photoelectron spectroscopy, loss on ignition, and foam index tests. A new computer vision–based digital foam index test was developed to automatically capture and quantify a video of the foam layer for better operator and laboratory reliability. The heat of hydration and setting times of HVFAC mixes for different cement and fly ash sources as well as chemical admixtures were investigated using an isothermal calorimeter. Class C HVFAC mixes had a higher sulfate imbalance than Class F mixes. The addition of chemical admixtures (both PCE- and lignosulfonate-based) delayed the hydration, with the delay higher for the PCE-based admixture. Both micro- and nano-limestone replacement were successful in accelerating the setting times, with nano-limestone being more effective than micro-limestone. A field test section constructed of HVFAC showed the feasibility and importance of using the noncontact ultrasound device to measure the final setting time as well as determine the saw-cutting time. Moreover, field implementation of the maturity method based on wireless thermal sensors demonstrated its viability for early opening strength, and only a few sensors with pavement depth are needed to estimate the field maturity.