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Journal articles on the topic 'Art and technology'

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Published: 4 June 2021
Last updated: 4 March 2023

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1

Chestney-Harvey, Kim. "Art + technology." ACM SIGGRAPH Computer Graphics 45, no. 1 (February 2011): 1–6. http://dx.doi.org/10.1145/1982562.1982566.

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2

Carlisle, Anne. "Art & Technology: Interactive Art." Circa, no. 73 (1995): 18. http://dx.doi.org/10.2307/25562848.

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3

Allen, Barry. "The Art of Technology and the Technology of Art." Roczniki Kulturoznawcze 13, no. 4 (December 31, 2022): 21–23. http://dx.doi.org/10.18290/rkult22134.1.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.
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4

Vandiver, Pamela, and Jim Druzik. "Art and Technology." MRS Bulletin 17, no. 1 (January 1992): 14–17. http://dx.doi.org/10.1557/s0883769400043189.

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Art has as many meanings as contexts in which it operates. It can mean surface decoration or the integral sum of parts and whole which a historian analyzes as structure using visual, musical, theatrical or other criteria. Art serves as decoration, but also serves to signal or sign a particular meaning. Art often confers an elite social status on its patrons or provides goods which support the power and prestige of a special group or person. Art is also used to describe the experience of viewers, usually as “aesthetic experience”; for instance, we experience art as beauty, as a shared emotional experience or empathetic understanding, or as interactive play or a process of performance by which we investigate or relate ideas, occurrences, or objects and give them meaning.Technology, in contrast, is usually defined as “praxis” and involves doing things, as a craft practice involving materials selection and refinement, followed by making those materials into useful things, artifacts, or objects which serve useful functions for individuals, a social group, class, or culture. The products of technology can be useful as tools that enable a task to be accomplished, or as products which satisfy subsistence needs, or devices, or even practical ideas. When put to use, they enable travel, communication, transportation of goods, or control of energy. But technology has another meaning which is often thought to be less useful, namely technical marvels—things which amaze or surprise us. Some examples are the mechanical automatons of the 17th and 18th centuries, the latest computer game, a special way of hearing or seeing, or even the gas and light spewing magic machines described as being used in Greek temples to get peoples' attention. Another example is the technology described by the 11th century monk Theophilus, used to equip a church, from bells and censors, to glass windows and painted walls. In these examples, doing technology or learning to use technological marvels is a way of almost magically extending our own power and understanding beyond ourselves.
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5

Utida, Yositika. "Technology and Art." TRENDS IN THE SCIENCES 2, no. 9 (1997): 18–21. http://dx.doi.org/10.5363/tits.2.9_18.

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6

O'Brien, Paul. "Art and Technology." Circa, no. 44 (1989): 15. http://dx.doi.org/10.2307/25557394.

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7

Förster, Yvonne. "Art and Technology." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 122–34. http://dx.doi.org/10.1515/yewph-2018-0009.

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AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds.
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8

Rajcetic, Zdravko. "Art and technology." Kultura, no. 136 (2012): 123–29. http://dx.doi.org/10.5937/kultura1236123r.

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9

Miller, Paul. "Art & technology." IEEE Spectrum 35, no. 7 (July 1998): 19. http://dx.doi.org/10.1109/mspec.1998.8362901.

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10

Hajar, Rachel. "Art, Medicine and Technology." Heart Views 15, no. 4 (2014): 135. http://dx.doi.org/10.4103/1995-705x.151097.

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11

Shopina, E., and M. Markova. "KASLI ART CASTING TECHNOLOGY." Technical Aesthetics and Design Research 2, no. 2 (December 16, 2020): 29–36. http://dx.doi.org/10.34031/2687-0878-2020-2-2-29-36.

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The Kasli art casting technology is characterized by its uniqueness; the products are distinguished by precision of execution and uniqueness of style. The Kasli Casting Plant occupies a well-deserved first place in Russia in terms of quality and quantity of products. The object of the research is the features of each of the stages when creating of Kasli castings, as well as the distinctive features of the art casting technology. As a result of the study, the conclusion was formulated that the historical role of Kasli art casting is its influence on the decorative and applied art of Russia. According to the authors, the Kasli plant influenced the further production of castings, producing high-quality products with careful study of details, ensuring a high level of quality for the foundry workers
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12

Malina, Roger F., and Peter Hill. "Art, Science and Technology." Leonardo 23, no. 1 (1990): 146. http://dx.doi.org/10.2307/1578487.

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13

Ascott, Roy. "Art, Technology and Consciousness." Convergence: The International Journal of Research into New Media Technologies 4, no. 3 (September 1998): 110–13. http://dx.doi.org/10.1177/135485659800400315.

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14

Diana, Maurizio. "On art and technology." World Futures 40, no. 1-3 (July 1994): 119–21. http://dx.doi.org/10.1080/02604027.1994.9972426.

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15

Arnold, Marion. "WOMEN, ART, AND TECHNOLOGY." Art Book 12, no. 3 (August 2005): 61–62. http://dx.doi.org/10.1111/j.1467-8357.2005.587_6.x.

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16

Janda, Richard. "Teaching, Art and Technology." Revue internationale des technologies en pédagogie universitaire 1, no. 1 (2004): 33. http://dx.doi.org/10.18162/ritpu.2004.31.

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17

Kuniyasu, Yo. "The Temporal Art Technology." Journal of the Society of Mechanical Engineers 96, no. 890 (1993): 17–20. http://dx.doi.org/10.1299/jsmemag.96.890_17.

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18

Austen, Kat. "Exploring technology in art." New Scientist 210, no. 2813 (May 2011): 46. http://dx.doi.org/10.1016/s0262-4079(11)61205-0.

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19

TOSA, Naoko. "ART & Technology : An Interactive Art Utilizing Fuzzy Technology : MIC & MUSE." Journal of Japan Society for Fuzzy Theory and Systems 9, no. 5 (1997): 648–55. http://dx.doi.org/10.3156/jfuzzy.9.5_648.

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20

Freedman, Kerry. "Visual Art/Virtual Art: Teaching Technology for Meaning." Art Education 50, no. 4 (July 1997): 6. http://dx.doi.org/10.2307/3193647.

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21

Firestein, Gary S., and David S. Pisetsky. "DNA microarrays: Boundless technology or bound by technology? Guidelines for studies using microarray technology." Arthritis & Rheumatism 46, no. 4 (April 2002): 859–61. http://dx.doi.org/10.1002/art.10236.

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22

Voronin, Stan, and Bulat Galeyev. "Man: Art: Technology: The Problem of Synesthesia in Art." Leonardo 27, no. 5 (1994): 449. http://dx.doi.org/10.2307/1576112.

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23

Shanken, Edward A. "Art in the Information Age: Technology and Conceptual Art." Leonardo 35, no. 4 (August 2002): 433–38. http://dx.doi.org/10.1162/002409402760181259.

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Art historians have generally drawn sharp distinctions be-tween conceptual art and art-and-technology. This essay reexamines the interrelationship of these tendencies as they developed in the 1960s, focus-ing on the art criticism of Jack Burnham and the artists in-cluded in the Software exhibition that he curated. The historiciza-tion of these practices as distinct artistic categories is examined. By interpreting conceptual art and art-and-technology as reflections and constituents of broad cultural transformations during the information age, the author concludes that the two tenden-cies share important similarities, and that this common ground offers useful insights into late-20th-century art.
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24

Rush, Michael, Philip Glass, Robert Wilson, Gary Hill, Meg Stuart, and Damaged Goods. "Art Extensions: Technology and Performance." PAJ: A Journal of Performance and Art 21, no. 2 (May 1999): 57. http://dx.doi.org/10.2307/3246004.

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25

Kiang, Tanya. "Art & Technology: Open Channel." Circa, no. 76 (1996): 43. http://dx.doi.org/10.2307/25562966.

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26

Borgmann, Albert, and Carl Mitcham. "Technology between Art and Religion." Philosophy Today 31, no. 2 (1987): 140–62. http://dx.doi.org/10.5840/philtoday198731210.

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27

Chung, Sheng Kuan. "Art Education Technology: Digital Storytelling." Art Education 60, no. 2 (March 2007): 17–22. http://dx.doi.org/10.1080/00043125.2007.11651632.

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28

Biswas, Amitava. "Managing art technology research collaborations." International Journal of Arts and Technology 1, no. 1 (2008): 66. http://dx.doi.org/10.1504/ijart.2008.019883.

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29

Peterson, Brent C., Kay Stovall, David E. Elkins, and Barbara Parker-Bell. "Art Therapists and Computer Technology." Art Therapy 22, no. 3 (January 1, 2005): 139–49. http://dx.doi.org/10.1080/07421656.2005.10129489.

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30

Kanigel, Robert. "Technology as a Liberal Art." Change: The Magazine of Higher Learning 18, no. 2 (April 1986): 20–30. http://dx.doi.org/10.1080/00091383.1986.9937052.

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31

Broeckmann, A., and A. Jaimes. "Digital culture, art, and technology." IEEE MultiMedia 12, no. 4 (October 2005): 9–11. http://dx.doi.org/10.1109/mmul.2005.68.

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32

Spalter, Anne. "Adventures in art and technology." Journal of Mathematics and the Arts 14, no. 1-2 (April 2, 2020): 138–40. http://dx.doi.org/10.1080/17513472.2020.1732806.

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33

Kerlow, Isaac V. "Art + design + computer graphics technology." Communications of the ACM 34, no. 7 (July 1991): 30–39. http://dx.doi.org/10.1145/105783.105786.

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34

Armaroli, Luciano. "Technology and art against cancer." Lancet 353, no. 9149 (January 1999): 332. http://dx.doi.org/10.1016/s0140-6736(05)74887-x.

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35

Klipstein, P. C. "Photoconductivity, Art, Science and Technology." Journal of Modern Optics 38, no. 6 (June 1991): 1203. http://dx.doi.org/10.1080/09500349114551231.

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36

Whale, George. "Art, Technology and Symmetrical Collaborations." Journal of Visual Art Practice 1, no. 2 (July 2001): 80–88. http://dx.doi.org/10.1386/jvap.1.2.80.

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37

Carrier, David, and Didier Maleuvre. "Museum Memories. History, Technology, Art." Journal of Aesthetic Education 35, no. 2 (2001): 122. http://dx.doi.org/10.2307/3333680.

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38

Gangadharan, Seeta Peña. "Mail art: networking without technology." New Media & Society 11, no. 1-2 (February 2009): 279–98. http://dx.doi.org/10.1177/1461444808099581.

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39

Ellul, Jacques. "Remarks on Technology and Art." Bulletin of Science, Technology & Society 21, no. 1 (February 2001): 26–37. http://dx.doi.org/10.1177/027046760102100105.

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40

Rickey, George. "A Technology of Kinetic Art." Scientific American 268, no. 2 (February 1993): 74–79. http://dx.doi.org/10.1038/scientificamerican0293-74.

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41

Cass, S. "Electronic realism [art and technology]." IEEE Spectrum 38, no. 3 (March 2001): 68–73. http://dx.doi.org/10.1109/6.908875.

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42

Boothroyd, S. A. "Photoconductivity, art, science and technology." Optics and Lasers in Engineering 15, no. 4 (January 1991): 283–84. http://dx.doi.org/10.1016/0143-8166(91)90070-a.

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43

Kozhagulov, Aidyn, Bauyrzhan Zhankushkov, Miyat Dzhanaev, Maria Derbissova, Tolkun Zhumasheva, and Sultan Bodan. "Competence development through art technology." World Journal on Educational Technology: Current Issues 14, no. 6 (November 28, 2022): 1795–806. http://dx.doi.org/10.18844/wjet.v14i6.8339.

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The purpose of this research; is to evaluate the competence development process through art technology through the eyes of students studying in the visual arts and drawing department. The study group of the research consists of 40 visual arts and drawing department students studying at various universities in Kazakhstan. Research data were collected by semi-structured interview technique. The descriptive analysis technique was used in the analysis of the interviews with the students who constitute the sample group of the research. As a result of the research; it has been determined that the majority of visual arts and drawing students have moderate technological competencies. The majority of visual arts and painting students stated that they found the education opportunities related to art technology at a moderate level in the education they received at the university. The majority of the students participating in the research stated that technology integration into art education is very necessary. The vast majority of visual arts and drawing students stated that it is possible to gain competence through art technology. Keywords: Art technology, competence development, student opinions;
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44

Campbell, Mary K. "Art in technology: A photo essay demonstrating the close relationship between art and technology." IEEE Potentials 6, no. 4 (December 1987): 9–11. http://dx.doi.org/10.1109/mp.1987.6500850.

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45

Venkatachalam, Shilpa. "Technology and the contemplation of art Contemplating the work of art using the HIPS technology." Journal of Visual Art Practice 3, no. 3 (December 2004): 179–94. http://dx.doi.org/10.1386/jvap.3.3.179/0.

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46

Sookkaew, Jirawat, Phanom Chongkon, and Nakarin Chaikaew. "Technology of Digital Art for Adapting Ancient Visual Art Designs." International Journal of Emerging Technology and Advanced Engineering 12, no. 8 (August 2, 2022): 125–35. http://dx.doi.org/10.46338/ijetae0822_16.

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Visual arts, design, and the creation of visual arts have been beginning along with human life for a long time. They have evolved in parallel together. The creation of human visual art is driven by inspiration and driven and taken to be a visual artwork. Creating digital art is a prevalent tool in today's era. It is a creative art technique that combines digital technology and the creation of visual artworks together. Bringing the cultural value of art that is the heritage of our ancestors who have created art that is considered valuable for future generations by using digital art for inheritance. It is also considered another method of transmitting, disseminating, and bringing the values of these cultural arts and cultures to be able to be inherited and passed on to the next era
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47

Boyce, K. T. ""Art in Outerspace": Gauging Public Response to High-Technology Art." Leonardo 24, no. 5 (1991): 553. http://dx.doi.org/10.2307/1575659.

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48

Aguiar-Ricardo, Ana, Teresa Casimiro, Micaela Sousa, Maria João Melo, and Paula Maria Tomaz. "Supercritical carbon dioxide: the art of technology in art conservation." Conservar Património 6 (2007): 3–9. http://dx.doi.org/10.14568/cp6_1.

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49

Li, Yuhui, and Wenjing Zhuge. "Application of Animation Control Technology Based on Internet Technology in Digital Media Art." Mobile Information Systems 2022 (April 6, 2022): 1–11. http://dx.doi.org/10.1155/2022/4009053.

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The advent of the Internet era has endowed artistic creation with new forms and connotations, and more and more digital media technologies have entered the stage of artistic creation and exhibition. At the same time, Internet technology has also provided more abundant artistic resources and art forms for digital media art for reference. With the development of animation control technology, various character animations present three-dimensional visual effects. Digital media art has emerged as a new concept in the field of multimedia applications and the integration and development of various technologies such as intelligent technology, network technology, media technology, and art design. This makes the art present a three-dimensional beauty with the support of modern high-tech technology. This paper mainly discusses the application of animation control technology in digital media art under the support of Internet technology. This paper also studies the artistic effect of digital media art under animation control technology. Through experimental research, this paper shows that the application of animation control technology in digital media art can improve the vividness of animation characters and promote the integration of digital media technology and culture and art. The fidelity to its simulated reality reaches 98.99%, and the actual effect achieved in the process of digital media art design work is completed, thereby realizing a large number of character animation scenes.
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50

Adapa, R. "High-Wire Act: HVdc Technology: The State of the Art." IEEE Power and Energy Magazine 10, no. 6 (November 2012): 18–29. http://dx.doi.org/10.1109/mpe.2012.2213011.

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