Zeitschriftenartikel zum Thema „Digital art and aesthetics“
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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.
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.
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.
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.
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.
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.
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/proceedings2020047054.
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.
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.
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.
Li, Qi. „Data visualization as creative art practice“. Visual Communication 17, Nr. 3 (17.04.2018): 299–312. http://dx.doi.org/10.1177/1470357218768202.
Bristow, Tegan. „Cultures of Technology: Digital Technology and New Aesthetics in African Digital Art“. Critical Interventions 8, Nr. 3 (02.09.2014): 331–41. http://dx.doi.org/10.1080/19301944.2014.975509.
Daudrich, Anna. „Towards post-digital aesthetics“. SAJ - Serbian Architectural Journal 7, Nr. 2 (2015): 213–22. http://dx.doi.org/10.5937/saj1502213d.
Contreras-Koterbay, Scott. „The Teleological Nature of Digital Aesthetics – the New Aesthetic in Advance of Artificial Intelligence“. AM Journal of Art and Media Studies, Nr. 20 (15.10.2019): 105. http://dx.doi.org/10.25038/am.v0i20.326.
Annunziato, Mauro, und Piero Pierucci. „Relazioni Emergenti: Experiments with the Art of Emergence“. Leonardo 35, Nr. 2 (April 2002): 147–52. http://dx.doi.org/10.1162/00240940252940513.
O'Reilly, Rachel. „Compasses, Meetings and Maps: Three Recent Media Works“. Leonardo 39, Nr. 4 (August 2006): 334–39. http://dx.doi.org/10.1162/leon.2006.39.4.334.
Khoroshilov, D. A. „Digital mind: mediatization of social cognition in culture, science and art“. Social Psychology and Society 10, Nr. 4 (2019): 9–22. http://dx.doi.org/10.17759/sps.2019100402.
Martín Prada, Juan. „Network culture and the aesthetics of dissension“. Escritura e Imagen 16 (16.12.2020): 271–84. http://dx.doi.org/10.5209/esim.73038.
Hung, Keung, und Jean M. Ippolito. „Time-Space Alterations: A New Media Abstraction of Traditional Chinese Painting and Calligraphy Aesthetics“. Leonardo 53, Nr. 1 (Februar 2020): 25–30. http://dx.doi.org/10.1162/leon_a_01573.
Simanowski, Roberto. „Literature and digital media: notes on theory and aesthetics“. Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 8, Nr. 1 (28.10.2020): 11–21. http://dx.doi.org/10.14195/2182-8830_8-1_1.
Cramer, Florian. „Post-Digital Literary Studies“. Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 4, Nr. 1 (28.02.2016): 11–27. http://dx.doi.org/10.14195/2182-8830_4-1_1.
Pereira, Selma Eduarda. „“Ecoações”“. International Journal of Creative Interfaces and Computer Graphics 11, Nr. 2 (Juli 2020): 42–53. http://dx.doi.org/10.4018/ijcicg.2020070104.
Nake, Frieder. „The Pioneer of Generative Art: Georg Nees“. Leonardo 51, Nr. 3 (Juni 2018): 277–79. http://dx.doi.org/10.1162/leon_a_01325.
Tavrizyan, Alexander V. „Aesthetics of Thomas Newman’s Music to “Six Feet Under” TV Series“. Observatory of Culture 16, Nr. 3 (19.07.2019): 264–77. http://dx.doi.org/10.25281/2072-3156-2019-16-3-264-277.
Kowsari, Masoud, und Mehrdad Garousi. „Fractal art and multi-blended spaces“. Virtual Creativity 9, Nr. 1 (01.12.2019): 23–41. http://dx.doi.org/10.1386/vcr_00003_1.
Pereira, Selma Eduarda, und Alexandra Nogueira. „The Destinies of Senses“. International Journal of Creative Interfaces and Computer Graphics 12, Nr. 1 (Januar 2021): 46–60. http://dx.doi.org/10.4018/ijcicg.2021010104.
Versteeg, Maarten, und Johanna Kint. „Exploring aesthetics through digital jewellery“. Design Journal 20, sup1 (28.07.2017): S184—S195. http://dx.doi.org/10.1080/14606925.2017.1352737.
Daryan, Nika. „Bildtechnologien der Hypersphäre“. Vierteljahrsschrift für wissenschaftliche Pädagogik 94, Nr. 1 (19.04.2018): 89–101. http://dx.doi.org/10.30965/25890581-09401008.
López Gabrielidis, Alejandra, und Toni Navarro. „The Digital Sublime: Orientation Strategies for a Vertiginous World“. Temes de Disseny, Nr. 37 (22.07.2021): 226–43. http://dx.doi.org/10.46467/tdd37.2021.226-243.
Evallyo, V. D., und V. P. Krutous. „“Humanization” of Art: Museums on the Internet“. Art & Culture Studies, Nr. 1 (2021): 222–43. http://dx.doi.org/10.51678/2226-0072-2021-1-222-243.
Morgan, Trish. „Sharing, hacking, helping: Towards an understanding of digital aesthetics through a survey of digital art practices in Ireland“. Journal of Media Practice 14, Nr. 2 (01.01.2013): 147–60. http://dx.doi.org/10.1386/jmpr.14.2.147_1.
Balanzategui, Jessica. „Creepypasta, ‘Candle Cove’, and the digital gothic“. Journal of Visual Culture 18, Nr. 2 (August 2019): 187–208. http://dx.doi.org/10.1177/1470412919841018.
Rautray, Priyabrata, und Boris Eisenbart. „ADDITIVE MANUFACTURING – ENABLING DIGITAL ARTISANS“. Proceedings of the Design Society 1 (27.07.2021): 323–32. http://dx.doi.org/10.1017/pds.2021.33.
Pype, Katrien. „Beads, Pixels, and Nkisi: Contemporary Kinois Art and Reconfigurations of the Virtual“. African Studies Review 64, Nr. 1 (März 2021): 23–40. http://dx.doi.org/10.1017/asr.2020.74.
Bešlagić, Luka. „Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary“. AM Journal of Art and Media Studies, Nr. 20 (15.10.2019): 51. http://dx.doi.org/10.25038/am.v0i20.323.
Novikov, Vasily N. „Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?“ Journal of Flm Arts and Film Studies 10, Nr. 1 (15.03.2018): 54–63. http://dx.doi.org/10.17816/vgik10154-63.
Novikov, Vasily N. „Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?“ Journal of Flm Arts and Film Studies 10, Nr. 2 (15.06.2018): 50–60. http://dx.doi.org/10.17816/vgik10250-60.
Holmes, Ros. „Meanwhile in China … Miao Ying and the Rise of Chinternet Ugly“. ARTMargins 7, Nr. 1 (Februar 2018): 31–57. http://dx.doi.org/10.1162/artm_a_00199.
Michelsen, Lea Laura. „Thinking Beyond Biometrics“. A Peer-Reviewed Journal About 7, Nr. 1 (06.07.2018): 36–49. http://dx.doi.org/10.7146/aprja.v7i1.115063.
Fetveit, Arild, und Gitte Stald. „Online debate on digital aesthetics and communication“. Northern Lights: Film and Media Studies Yearbook 5, Nr. 1 (07.09.2007): 141–58. http://dx.doi.org/10.1386/nl.5.1.141_7.
Bjoernsten, Thomas. „Data aesthetics - between clouds of information and subjective experience“. MedieKultur: Journal of media and communication research 31, Nr. 59 (08.03.2016): 24. http://dx.doi.org/10.7146/mediekultur.v31i59.20237.
Martin, Fred. „The Horse and the Cart: The Contemporary Artist and the Aesthetician“. Empirical Studies of the Arts 13, Nr. 2 (Juli 1995): 119–30. http://dx.doi.org/10.2190/wtge-fm8u-7etu-dgdp.
Mukhida, Leila. „Violence in the Age of Digital Reproducibility: Political Form in Valeska Grisebach's Longing (2006)“. German Politics and Society 33, Nr. 1 (01.06.2015): 172–85. http://dx.doi.org/10.3167/gps.2015.330113.
Lēvalde, Vēsma. „Digimodernisms teātrī: perspektīva un naratīvs“. Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, Nr. 25 (04.03.2020): 276–85. http://dx.doi.org/10.37384/aplkp.2020.25.276.
Proksell, Michelle, und Gabriele de Seta. „A Cabinet of Moments: Collecting and Displaying Visual Content from WeChat“. Cabinet, Vol. 2, no. 2 (2017): 88–94. http://dx.doi.org/10.47659/m3.088.art.
Whalley, Ian. „Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages“. Organised Sound 17, Nr. 1 (14.02.2012): 4–15. http://dx.doi.org/10.1017/s135577181100046x.
Kahn, Douglas. „Prelude to Live Cinema“. Journal of Visual Culture 10, Nr. 2 (August 2011): 255–65. http://dx.doi.org/10.1177/1470412911402913.
Horrocks, Roger. „The dance of the hand: Len Lye’s direct films“. Animation Practice, Process & Production 8, Nr. 1 (01.12.2019): 33–45. http://dx.doi.org/10.1386/ap3_00003_1.
Van Schepen, Randall. „Contemporary Misticism: Recovering Sensible Aesthetics in an Age of Digital Production“. Religions 10, Nr. 3 (12.03.2019): 186. http://dx.doi.org/10.3390/rel10030186.
Legrady, George. „Perspectives on Collaborative Research and Education in Media Arts“. Leonardo 39, Nr. 3 (Juni 2006): 215–18. http://dx.doi.org/10.1162/leon.2006.39.3.215.