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Relevant bibliographies by topics / Digital aesthetics

Academic literature on the topic 'Digital aesthetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Dissertations / Theses
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Journal articles on the topic "Digital aesthetics"

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Agung, Lingga, and Novian Denny Nugraha. "Digital Culture and Instagram: "Aesthetics for All?"." IMOVICCON Conference Proceeding 1, no. 1 (July 3, 2019): 93–98. http://dx.doi.org/10.37312/imoviccon.v1i1.7.

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Aesthetics is the study of beauty but in a cultural discourse is a representation of cultural expressions that mark its position in social reality. Thus, aesthetics is not a subjective expression of culture but rather a mechanism by which beauty is produced and distributed. The mechanism continues to operate even in a wider landscape such as in multidimensional technological space. This has resulted the aesthetic deconstruction because the norm operates differently. Instagram, which attracted latest generation, has birth a digital culture oriented to the new aesthetic visual forms. The aesthetic visual on Instagram constructed through visual production that is continuously interwoven with one another. The mechanism of cultural production in Instagram tends to deconstruct aesthetics as a norm. The public is more oriented to actions rather than philosophical contemplation. However, the mechanism of culture produces the discourse of aesthetics in Instagram still needs to explore. This research is important because we facing ‘loss of ideological and historical awareness’ of the aesthetics and aesthetics are the alternative to explore the nature of humanity. This research tries to explain how the aesthetics mechanism works on Instagram by virtual ethnography method and Bourdieu's ‘Capital Culture’ theory.

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Chen, Changhai. "New Aesthetic Characteristics Emerging in the Digital Cinema Era." International Journal of Education and Humanities 2, no. 1 (January 25, 2022): 1–6. http://dx.doi.org/10.54097/ijeh.v2i1.224.

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Digital film technology has constantly transformed and enhanced the fundamental aesthetic elements in the traditional aesthetic categories of film aesthetics during its gradual penetration into the film art system, enabling these fundamental aesthetic elements to take on new forms and appearances that enrich the artistic communication of film and mark This is a sign of artistic advancement. The fusion of old and new technologies in synergy with the original film system has also accelerated the development of digital film technology as an aesthetic model, and in adapting to the original film art system, digital film aesthetics has produced aesthetic implications that transcend the original system, in terms of virtual images, spatial and temporal concepts, narrative modes, sound and picture relationships, and movement characters. They all exhibit new aesthetic characteristics that are distinct from traditional film aesthetics in terms of virtual images, spatial and temporal concepts, narrative modes, sound and image relationships, movement characteristics, and interactive methods. When one examines existing discussions on digital cinema in China and globally, it is easy to see that they primarily focus on expanding the audiovisual expression of images and on the study of the expressive power and image effects of digital special effects, while research on expanding film concepts and expanding film aesthetics is superficial, or even nonexistent. From a film aesthetics standpoint from the standpoint of film aesthetics, as digital technology has gradually displaced traditional modes of film production and concepts, audience viewing styles, and human aesthetic concepts, the aesthetics of digital film under the new digital technology can be a new construction in terms of time and space, reality, narrative techniques, virtual reality, and aesthetic acceptance. Based on established film theories and aesthetic notions, this study will seek to develop film aesthetics in the digital era, highlighting the study's uniqueness and systemic character in light of shifting aesthetic categories and the incorporation of new aspects in digital cinema.

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Daudrich, Anna. "Towards post-digital aesthetics." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 213–22. http://dx.doi.org/10.5937/saj1502213d.

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Over the past decades, digital technology and media had firmly integrated into almost all areas of contemporary culture and society. In this context, the Internet, computers or mobile phones are no longer considered products of new media, but instead are taken for granted. With this background in mind, this paper suggests taking a post-digital perspective on today's media society. The concept of post-digital refers to an aesthetics that no longer regards digital technology as a revolutionary phenomenon, but instead as a normal aspect of people's daily life. More precisely, post-digital aesthetics deals with an environment where digital technology became such a commonplace that its existence is frequently no longer acknowledged. Based on the analysis of contemporary artworks and practices inspired by their surroundings, this paper aims to bring those phenomena into consciousness that became unnoticeable in the contemporary digital environment. For this purpose, this investigation goes beyond the formal-aesthetic analysis, but instead focuses on the investigation of the receptive act. Concretely, post-digital aesthetics seeks to describe and analyze the changing modes of perception affected by the increased digitization of one's surroundings. In the context of this analysis, aesthetics is thus understood not as the goal per se, but rather as the means to enhance the understanding of contemporary digital culture.

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Richards, Russell. "An aesthetic or anaesthetic? Developing digital aesthetics of production." Journal of Media Practice 5, no. 3 (January 1, 2004): 145–53. http://dx.doi.org/10.1386/jmpr.5.3.145/1.

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Åhman, Henrik. "The aesthetic turn: exploring the religious dimensions of digital technology." Approaching Religion 6, no. 2 (December 14, 2016): 156–63. http://dx.doi.org/10.30664/ar.67600.

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The arena for developing digital technology has undergone an aesthetic turn, broadening the focus from a functionalist approach producing centralized systems in the 1970s and 1980s to an increased awareness of the aesthetic aspects of the individual user’s interaction with technology in the 1990s and 2000s. Within the academic research fields studying digital technology (e.g. Human-Computer Interaction and Interaction Design) the aesthetic turn has resulted in a shift from a strong emphasis on user behaviour to an increased interest in aesthetic perspectives on the role of the designer, the design process, and the design material. Within these fields, aesthetics has often been interpreted as belonging to the realm of the individual; personal experiences such as pleasure, engagement, and emotions have been emphasized in both technology development and technology research. Aesthetics is not, however, only an individual phenomenon but also has relational and structural components that need to be acknowledged. Structural aspects of aesthetics condition the possibilities for individuals interacting with digital technology. Thus, the tension between individual and relational aspects of aesthetics in digital technology also reflects a tension between freedom and limitation; between change and permanence; between destabilizing and stabilizing forces.Such a broadened understanding of aesthetics offers a model of digital technology that roughly corresponds to Mark C. Taylor’s definition of religion. Taylor argues that religion is constituted by, on the one hand, a figuring moment characterized by structural stability and universality, and, on the other hand, a disfiguring moment characterized by disruption, particularity, and change. The purpose of this paper is to discuss the aesthetic turn and Taylor’s definition of religion to illustrate similarities between the two, suggesting possible religious dimensions of digital technology and how that can inform our understanding of people’s interaction with digital technology.

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Crang, Mike. "Book Review: Digital aesthetics." Ecumene 8, no. 2 (April 2001): 229–30. http://dx.doi.org/10.1177/096746080100800209.

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Diaz, Gene. "Book Review: Digital Aesthetics." Social Science Computer Review 17, no. 4 (November 1999): 497–500. http://dx.doi.org/10.1177/089443939901700415.

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Ulitkina, Anna Sergeevna, and Tatiana Borisovna Lemeshko. "AESTHETICS OF DIGITAL ADVERTISING." Бизнес и дизайн ревю, no. 4 (2022): 110–17. http://dx.doi.org/10.56565/25419951_2022_4_110.

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Vuksanović, Divna. "Aesthetics, Media, Games." Diogenes 30, no. 2 (December 19, 2022): 142–57. http://dx.doi.org/10.54664/rdrd7616.

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This paper reflects the relationship between contemporary media and games in the context of aesthetic research and the existing practice of digitalization of culture. The essay aims to explore and re-examine how the traditionally conceived notion of game can be considered and applied in theoretical terms in our time, taking into account the prevailing digital media culture and the presence of artificial intelligence in it. Furthermore, the essay deliberately addresses a possible critique of digital culture from the perspective of freedom and the general humanistic worldview.

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Câmara, Carlos Alexandre. "Analysis of smile aesthetics using the SmileCurves digital template." Dental Press Journal of Orthodontics 25, no. 1 (January 2020): 80–88. http://dx.doi.org/10.1590/2177-6709.25.1.080-088.sar.

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ABSTRACT Introduction: The aesthetic analysis of a smile may be facilitated by the use of a template that provides several dental aesthetic references and support for the diagnosis, simplifying it and defining guidelines for the aesthetic planning of orthodontic and integrated treatments. Objective: To describe a simple and objective procedure for the evaluation of smile aesthetics using the SmileCurves digital template (SCT), based on the superimposition of intraoral photographic images and close-up views of a smile. Conclusion: SCT is a simple and objective tool for the aesthetic analysis of a smile.

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Dissertations / Theses on the topic "Digital aesthetics"

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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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Cubitt, Sean. "Digital aesthetics." Thesis, Liverpool John Moores University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402843.

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Jeong, Heon. "The Cinematic Aesthetics of Digital Virtualism." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10404.

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This dissertation explores the cinematic ontology of digital virtualism in the context of the current trend to digitalisation. I define digital virtualism as the aesthetics of assemblage and configuration in the age of digital images. This definition implies that digital technology strengthens the complex tension between physical reality and imaginary illusion. Based on computer simulation and synthesis, the digital image intensifies the contradiction between cinematic materiality and immateriality. Digital virtualism is the aesthetics of historical hybridity and aesthetic complexity between the actual and the virtual, the indexical and the symbolic, the material and the immaterial, the real and the imaginary. In this context, this thesis examines the aesthetical relationship of filmic virtuality and the digital image. In particular, I assert that the digital image is the new form and expansion of filmic virtuality. While film is always the art of the virtual, that is, the aesthetic imbrication of actual indexicality and imaginary illusion, the digital image intensifies the contradiction of filmic virtuality between reality and illusion. On one hand, computer simulation reinforces the indexicality of film by the principle of perceptual realism. On the other hand, it attenuates the causality between the object and the image by digital manipulation. I argue that digital technology simultaneously intensifies both filmic reality and the manipulation of the imaginary. Thus, the digital image expands the expressive force and aesthetic potential of cinema. After examining the cinematic aesthetics of realism, modernism, postmodernism, and digital aesthetics after postmodernism, this dissertation investigates the aesthetical implications of Deleuzian virtuality in the age of the digital image. Deleuze presents the cinematic aesthetics of virtual conjunction in the monism of simulacra, which implies the indiscernible and inextricable imbrication of the actual and the virtual, original and copy, reality and image, and cinematic movement and time. Following the discussion of the aesthetical ontology of Deleuzian virtuality, this dissertation theorises the assemblage aesthetics of digital virtualism. Consequently, this dissertation proposes the subjective and practical task of digital ethics. Digital technology intensifies the spectacular attraction of images and the interactive participation of spectators in the cinematic process. In contrast, the digital image reveals technological fetishism and aesthetic commercialisation. Based on the ontological contradiction of the digital image, this dissertation articulates the configurative aesthetics and the subjective ethics of digital virtualism.

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Chan, Ching-yan Janet, and 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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Ednie-Brown, Pia Hope, and 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.

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Duffy, Michael S. "Becoming regionally digital : visual effects industries and aesthetics in the 1990s." Thesis, University of Nottingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438634.

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Zhang, Yanqing. "Tech Fashion : Fashion Institutionalization in Digital Technology." Doctoral thesis, Stockholms universitet, Institutionen för data- och systemvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-130200.

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This thesis explores aesthetization in general and fashion in particular in digital technology design and how we can design digital technology to account for the extended influences of fashion. The thesis applies a combination of methods to explore the new design space at the intersection of fashion and technology. First, it contributes to theoretical understandings of aesthetization and fashion institutionalization that influence digital technology design. We show that there is an unstable aesthetization in mobile design and the increased aesthetization is closely related to the fashion industry. Fashion emerged through shared institutional activities, which are usually in the form of action nets in the design of digital devices. “Tech Fashion” is proposed to interpret such dynamic action nets of institutional arrangements that make digital technology fashionable and desirable. Second, through associative design research, we have designed and developed two prototypes that account for institutionalized fashion values, such as the concept “outfit-centric accessory.” We call for a more extensive collaboration between fashion design and interaction design.

At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Accepted. Paper 5: Manuscript.

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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.

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Kirk, Neal. "New media hauntings : digital aesthetics of haunting, context collapse, and networked spectrality." Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/125628/.

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This thesis introduces the critical methodology ‘networked spectrality’ to theorise depictions of new media hauntings. Ghost stories often include the latest technologies to establish the realistic setting, but technological advance also affords new opportunities to depict ghost stories. I argue that the early twenty-first-century technologies that are collectively known as ‘new media technologies’ are changing the historic dynamics of ghosts, themes of haunting, and conceptions of spectrality. I use networked spectrality to theorise depictions of ghosts and hauntings in recent films, television programmes, and Internet culture that are transitioning from singular, personal, and analogue representations to ghosts that are multiple, participatory, and immanently digital. As constitutive and illustrative examples of networked spectrality and new media hauntings, this thesis considers Ghost (1990); Pulse (2006); the digital aesthetics of haunting employed by the hacker and activist collective, Anonymous (2004 - present); the participatory Internet haunting of The Slender Man (Knudsen, 2009); Black Mirror (2011 - present); Unfriended (2014), and CSI: Cyber (2015- 2016). I use networked spectrality to analyse these texts around the structural concepts of the relevant historical, technical, social and political dynamics of digital networks and new media technologies as they relate to conceptions and depictions of haunting. The identification of the spectral character of data is an important outcome of my application of networked spectrality because it enables proficient users, hackers, and agents of the State to blur the roles traditionally afforded to ghosts, themes of haunting and spectrality. From the spectral architecture of the Internet, to the changes in social behaviour, to the way new media technologies are used to shape politics and policing, networked spectrality offers insights into the cultural work the theme of haunting is evoked to do.

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Palmer, Mark William. "Space, time and the sensibility of the virtual." Thesis, Staffordshire University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310626.

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Books on the topic "Digital aesthetics"

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Digital aesthetics. London: SAGE, 1998.

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1960-, Block Friedrich W., Heibach Christiane, and Wenz Karin, eds. P0es1s: Ästhetik digitaler Poesie = the aesthetics of digital poetry. Ostfildern-Ruit: Hatje Cantz, 2004.

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

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Blake, Deleuzian aesthetics and the digital. New York: Continuum, 2012.

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Norie, Neumark, Gibson Ross 1956-, and Van Leeuwen Theo 1947-, eds. Voice: Vocal aesthetics in digital arts and media. Cambridge, Mass: MIT Press, 2010.

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

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Postdigital aesthetics: Art, computation and design. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.

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Hoy, Paul D. Van. Wedding photojournalism: The business of aesthetics. Buffalo, NY: Amherst Media, 2011.

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Aicher, Otl. Analog und Digital. Berlin: Ernst & Sohn, 1991.

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Institute of Network Cultures (Amsterdam, Netherlands), ed. Web aesthetics: How digital media affect culture and society. Rotterdam: NAi Publishers, 2010.

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Book chapters on the topic "Digital aesthetics"

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Goldstein, Steven H. "Digital Photography and Digital Asset Management." In Implant Aesthetics, 151–67. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50706-4_10.

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Jamelle, Hina. "Digital Architecture and the New Elegance." In Aesthetics, 185–88. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-38.

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Cramer, Florian. "What Is ‘Post-digital’?" In Postdigital Aesthetics, 12–26. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137437204_2.

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Fazi, M. Beatrice, and 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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Bateman, Chris. "Empirical Game Aesthetics." In Handbook of Digital Games, 411–43. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2014. http://dx.doi.org/10.1002/9781118796443.ch15.

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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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Castro, Eva. "The Digital Archive." In Virtual Aesthetics in Architecture, 187–90. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003183105-31.

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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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Gere, Charlie. "Non-relational Aesthetics." In Community without Community in Digital Culture, 100–113. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137026675_8.

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Mostafa, Nesrine Z., Chris Wyatt, and Jonathan A. Ng. "Digital Implant Abutment and Crowns in the Aesthetic Zone." In Implant Aesthetics, 369–82. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50706-4_21.

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Conference papers on the topic "Digital aesthetics"

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Colombino, Tommaso, Antonietta Grasso, David Martín, Jacki O’Neill, and John Bowers. "Aesthetics, Digital Technology and Collaboration." In People and Computers XXII Culture, Creativity, Interaction. BCS Learning & Development, 2008. http://dx.doi.org/10.14236/ewic/hci2008.75.

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Bogatyreva, E. "AESTHETICS IN THE CONTEXT." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2545.978-5-317-06726-7/56-57.

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The report is dedicated to new expectations related to aesthetics at the turn of the 2010-2020. After discussions about modernity and postmodernity, aesthetics is updated again. This time, its relevance is associated with the spread of digital art and Internet communication.

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Tan, Wenqi, and Jie Zeng. "The Influence of World Aesthetics, National Aesthetics and Daily Life Aesthetics on Architectural Design." In Proceedings of the International Conference on Art Design and Digital Technology, ADDT 2022, 16-18 September 2022, Nanjing, China. EAI, 2022. http://dx.doi.org/10.4108/eai.16-9-2022.2324919.

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Agung, Lingga, and Novian Denny. "Digital Culture and Instagram: Aesthetics for All." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-9.

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AGUNG, LINGGA, and NOVIAN DENNY NUGRAHA. "Digital Culture and Instagram: Aesthetics for All?" In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-9.

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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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Spartin, Lark, and John Desnoyers-Stewart. "Digital Relationality: Relational aesthetics in contemporary interactive art." In Proceedings of EVA London 2022. BCS Learning & Development, 2022. http://dx.doi.org/10.14236/ewic/eva2022.29.

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Yang, Yaxin, Haiying Wen, Wenyu Wu, Zhisheng Zhang, and Jianxiong Zhu. "Evaluation of Digital Twin Interface Based on Aesthetics." In 2022 28th International Conference on Mechatronics and Machine Vision in Practice (M2VIP). IEEE, 2022. http://dx.doi.org/10.1109/m2vip55626.2022.10041108.

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Yudha Pratama, I. Gede. "Aesthetics Study of Mesatua Bali Culture in Digital Media." In Proceedings of the International Conference on Business, Economic, Social Science and Humanities (ICOBEST 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icobest-18.2018.36.

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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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Reports on the topic "Digital aesthetics"

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Hicks, Jacqueline. Export of Digital Surveillance Technologies From China to Developing Countries. Institute of Development Studies, August 2022. http://dx.doi.org/10.19088/k4d.2022.123.

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There is evidence to show that Chinese companies, with some state credit backing, are selling digital surveillance technologies to developing countries, which are then sometimes used in authoritarian practices. However, there is little direct evidence to show that surveillance technologies sold by Chinese companies have more authoritarian potential than the technologies sold by non-Chinese companies. Some researchers define “surveillance technologies” as including any form of digital infrastructure. There is data to show that developing country governments are contracting Chinese companies to build digital infrastructures. Other researchers define “surveillance technologies” as smart city projects. It is estimated that in 2019, Chinese smart city technologies have been purchased in over 100 countries worldwide. Other researchers look at more specific elements of smart cities: There are estimates that the “AI surveillance” components of smart cities have been purchased in 47-65 countries worldwide, and the “data integration” security platforms in at least 80 countries. None of these figures imply anything about how these technologies are used. The “dual use” nature of these technologies means that they can have both legitimate civilian and public safety uses as well as authoritarian control uses. There is evidence of some governments in Africa using Chinese surveillance technologies to spy on political opponents and arrest protesters. Some authors say that some Chinese smart city projects are actually not very effective, but still provide governments with a “security aesthetic”. Research also shows that Chinese smart city technologies have been sold mostly to illiberal regimes. However, in the wider context, there is also ample evidence of non-Chinese surveillance technologies contributing to authoritarian control in developing countries. There is also evidence that UK companies sell surveillance technologies to mostly illiberal regimes. Some reports consulted for this rapid review imply that Chinese surveillance technologies are more likely to be used for authoritarian control than those sold by non-Chinese companies. This analysis is largely based on circumstantial rather than direct evidence. They rely on prior judgements, which are themselves subject to ongoing enquiry in the literature: Almost all of the reports consulted for this rapid review say that the most important factor determining whether governments in developing countries will deploy a particular technology for repressive purposes is the quality of governance in the country. No reports were found in the literature reviewed of Chinese state pressure on developing countries to adopt surveillance technologies, and there were some anecdotal reports of officials in developing countries saying they did not come under any pressure to buy from Chinese companies.

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NELYUBINA, E., and L. PANFILOVA. ASSESSMENT OF THE QUALITY OF EDUCATIONAL ELECTRONIC PUBLICATIONS AND RESOURCES. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2658-4034-2021-12-4-2-85-97.

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Now the whole life of a person has switched to online mode. These changes also affected the education system. This means the need to introduce new technologies into the educational process. Books, manuals, printed publications are being replaced by electronic educational resources. Providing up-to-date, verified information to students has always been and remains one of the most important functions of the teacher. Unfortunately, with the transition of training to the online mode, the teacher cannot use his literature when conducting classes. In this regard, there is a need to use electronic resources. On the one hand, the development of the global network implies the presence of a large number of a wide variety of sites, which cannot but be a positive aspect, because both the teacher and the student can independently choose a resource that will be most understandable. But on the other hand, the variety of Internet resources implies the presence of unverified, false information, which can negatively affect the quality of education. That is why it is necessary to analyze new information systems. The problem is the presence of a large number of information technologies and resources used in education. Purpose. The goal is to conduct a comparative analysis of educational electronic publications and resources most often used by teachers of the natural science cycle in terms of their fullness, accessibility and use in the educational process. Method or methodology of the work. The requirements for the organization of a comprehensive examination suggest an approach that includes an examination of technical and technological, psychological, pedagogical and design-ergonomic aspects of the creation and use of educational electronic publications and resources, in our work we were based precisely on generalized research methods: 1) Technical and technological expertise (technical component of the site, its position in the network). 2) Psychological and pedagogical expertise (component by the type of educational electronic publication or resource, level of education, type and form of the educational process, assessment of the content and scenario of the informatization tool). 3) Design-ergonomic expertise (assessment of the quality of interface components of educational electronic publications and resources, their compliance with uniform ergonomic, aesthetic and health-saving requirements; assessment of the quality of interface components of educational electronic editions and resources, their compliance with uniform ergonomic, aesthetic and health-saving requirements). Results. The main sites that are frequently used by teachers of the natural science cycle of disciplines are the Russian Textbook corporation, the Enlightenment group of companies, the Binom publishing house, the Digital Age School, the practical significance of the study is determined by the high level of readiness of the results obtained, during the study it was found that it is advisable to introduce an information-electronic educational site - the Russian textbook corporation - into the pedagogical practice of the implementation of natural science subjects. The advantages of this server were established and recommendations for its use in the educational process were developed. Practical implications: the results obtained are expedient to be applied in educational institutions of the Russian Federation.

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