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Journal articles on the topic 'Digital aesthetics'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

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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2

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Ogunbanjo, Emmanuel Gbemisola, and Oluwabunmi Dorcas Bakare. "The Relevance of E-Aesthetics in The Sustainability Of Nigerian Libraries In The Digital Era." Journal of Social Sciences and Management Studies 1, no. 3 (July 10, 2022): 72–78. http://dx.doi.org/10.56556/jssms.v1i3.178.

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The digital library brought with it several challenges which do not fully erode the traditional libraries in developing countries such as Nigeria as most libraries have become a complex entity with the operation of both the traditional and the digital libraries. Therefore, as library service providers are trying to guarantee the smooth operation of the physical library, they are also struggling to ensure a seamless digital library. Therefore, various aspect of the design such as the aesthetic condition which include the e-aesthetics need to be put into consideration in designing the digital library web pages respectively. It was on this premise that this study focused on the relevance of e-aesthetics in the sustainability of Nigerian Libraries in this digital era. The study adopted an interpretivist research paradigm hinged on the a systematic literature review strategy of journal articles, books, and other online materials in addition to focusing on empirical studies between year 2000 and 2021 from Google Scholar. A content analysis was deployed and information resources obtained were grouped into the major themes to address the objective of the study. The findings of this study revealed that as aesthetic conditions and facilities were of high relevance and significance in the traditional library operation towards ensuring increase usage and sustainability, so the relevance of e-aesthetics in the sustainability of Nigerian Libraries in the digital era cannot be underestimated if Nigeria libraries must keep abreast to the global effect of digital transformational effect on the library and information service system. It recommends that e-aesthetic issues should be taken into considerations in the development of digital library webpages to create a user-friendly environment and also ease of usage is of high premium in ensuring increase usage and sustainability of Nigerian library. Keywords: Aesthetic, E-Aesthetic, Digital Library, Traditional Libraries, Nigeria Libraries

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12

Drucker, Johanna. "Speculative Aesthetics and Digital Media." Journal of Philosophy: A Cross-Disciplinary Inquiry 3, no. 7 (2007): 34–41. http://dx.doi.org/10.5840/jphilnepal2007374.

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13

Marks, L. "Review. Digital Aesthetics. Sean Cubitt." Screen 40, no. 2 (June 1, 1999): 218–22. http://dx.doi.org/10.1093/screen/40.2.218.

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14

Versteeg, Maarten, and Johanna Kint. "Exploring aesthetics through digital jewellery." Design Journal 20, sup1 (July 28, 2017): S184—S195. http://dx.doi.org/10.1080/14606925.2017.1352737.

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15

Skopik, Steven. "Digital Photography: Truth, Meaning, Aesthetics." History of Photography 27, no. 3 (September 2003): 264–71. http://dx.doi.org/10.1080/03087298.2003.10441252.

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16

Serafini, Luca. "Georg Simmel’s Social Aesthetics and the Digital Public Sphere." Simmel Studies 25, no. 1 (November 15, 2021): 73–104. http://dx.doi.org/10.7202/1083822ar.

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In this paper I use concepts of Georg Simmel’s social aesthetics to investigate and describe several relational and communicative dynamics that occur in the digital public sphere—where the aesthetic dimension has now assumed great importance. Specifically, Simmel’s work proves to be more suited than Habermas’s for understanding the mechanisms of “typification” and “gamification” found in online interactions between individuals. I further argue that, on the Web, these mechanisms in particular are responsible for blocking the exchange of opinions and meanings on subjects of public interest, thereby betraying the universal, societal outcomes of Simmel’s social aesthetics.

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17

Rezende, Paula Davies. "A APROPRIAÇÃO, PASTEURIZAÇÃO E MERCANTILIZAÇÃO DA PRECARIEDADE ANALÓGICA PELA INDÚSTRIA DA FOTOGRAFIA DIGITAL / The appropriation, pasteurization and mercantilization of analogue precariety by the digital photography industry." arte e ensaios 26, no. 40 (December 2, 2020): 155–71. http://dx.doi.org/10.37235/ae.n40.11.

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Proponho uma reflexão sobre como câmeras de baixa fidelidade contribuem para subversão da fotografia tradicional e para a consolidação de uma estética caracterizada por ruídos e falhas, denominada estética da precariedade. Abordo ainda a apropriação, padronização e mercantilização da estética da precariedade pela indústria fotográfica digital, por meio de aplicativos de edição de imagens e redes sociais de compartilhamento de fotos e vídeos.Palavras-chave: Estética da precariedade; Fotografia de baixa fidelidade; Fotografia analógica; Fotografia digital; Indústria fotográfica.AbstractI propose a reflection on how low-fidelity cameras contribute to the subversion of traditional photography and to the consolidation of an aesthetic characterized by noise and flaws, called precariousness aesthetics. I also address the appropriation, standardization and commercialization of the precariousness aesthetic by the digital photographic industry, through image editing apps and photo and video sharing social networking services.Keywords: Precariousness aesthetics; Low fidelity photography; Analog photography; Digital photography, Photographic industry.

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18

Holgate, John. "Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?" Proceedings 47, no. 1 (May 15, 2020): 54. http://dx.doi.org/10.3390/proceedings2020047054.

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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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19

Holgate, John. "Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?" Proceedings 47, no. 1 (May 15, 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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20

Pratiwi, Ilma. "ESTETIKA GASTRONOMI NUSANTARA DALAM MEDIA DIGITAL." Jurnal Budaya Nusantara 4, no. 2 (June 30, 2021): 248–57. http://dx.doi.org/10.36456/b.nusantara.vol4.no2.a3628.

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The development of the digital technology affects how humans perceive aesthetics in digital media. Including how the Indonesia gastronomic presentation is perceived in digital media both visually and audio. Gastronomy is the study of food and food culture. The development of digital information technology creates a space that is full of information, how can information about the Indonesian gastronomy continue to exist in the midst of cross-cultural information on today's digital media. People's behavior is influenced by the perceptions of netizens formed from digital information media, be it social media, television media, film media, even entertainment media on demand. This study uses a phenological approach to describe how the Indonesian gastronomic aesthetics are presented in various digital media platforms, namely social media Instagram, social media Facebook, social media Youtube, digital television media, digital film media, and entertainment digital media on demand. The data was obtained through observation of these various digital media platforms. This study produces a comparison of the aesthetic elements used in each of these digital media and how the existence of Indonesian gastronomy is presented in it.

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21

Philipsen, Lotte. "Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics." A Peer-Reviewed Journal About 3, no. 1 (June 1, 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.

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22

Jeong, Heon. "Deleuze's Movement-images and Digital Aesthetics." Journal of Aesthetics & Science of Art 50 (March 24, 2017): 73–100. http://dx.doi.org/10.17527/jasa.50.0.03.

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23

Phatak, Madhura. "Aesthetics in Digital Photography: A Survey." International Journal for Research in Applied Science and Engineering Technology 8, no. 2 (February 29, 2020): 678–87. http://dx.doi.org/10.22214/ijraset.2020.2105.

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24

정헌. "Deleuze’s Time-Image and Digital Aesthetics." Contemporary Film Studies 14, no. 4 (November 2018): 141–67. http://dx.doi.org/10.15751/cofis.2018.14.4.141.

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25

CROWTHER, PAUL. "Ontology and Aesthetics of Digital Art." Journal of Aesthetics and Art Criticism 66, no. 2 (March 2008): 161–70. http://dx.doi.org/10.1111/j.1540-6245.2008.00296.x.

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26

Lopes, Dominic McIver. "Aesthetics of Interaction in Digital Art." British Journal of Aesthetics 55, no. 2 (September 9, 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, no. 2 (March 2008): 161–70. http://dx.doi.org/10.1111/j.1540-594x.2008.00296.x.

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28

Valente, Jonathan H., Gregory D. Jay, Scott T. Schmidt, Albert K. Oh, Steven E. Reinert, and Christopher P. Zabbo. "Digital Imaging Analysis of Scar Aesthetics." Advances in Skin & Wound Care 25, no. 3 (March 2012): 119–23. http://dx.doi.org/10.1097/01.asw.0000412907.43335.a2.

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29

Balanzategui, Jessica. "Creepypasta, ‘Candle Cove’, and the digital gothic." Journal of Visual Culture 18, no. 2 (August 2019): 187–208. http://dx.doi.org/10.1177/1470412919841018.

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Throughout the past decade, a multimodal type of internet storytelling has developed that extends upon the early Web 2.0 viral narrative practices of chain emails as well as pre-digital folkloric storytelling traditions such as the ghost story and urban legend. This popular mode of digital storytelling, known broadly as ‘Creepypasta’, is produced and consumed according to folkloric practices that in turn shape its form and aesthetics. The author suggests that a precise genre has emerged out of the originally wide-ranging terrain of Creepypasta, a generic mode constituted of specific thematic preoccupations and aesthetics that she refers to as ‘the digital gothic’. Through analysis of the foundational story ‘Candle Cove’, the article outlines the digital gothic’s anxious preoccupation with dead and residual media, and with the interface between technological and personal change. She demonstrates how ‘Candle Cove’ deconstructs nostalgia in its tense negotiation of the relationship between analogue and digital cultures. The author’s analysis thus illuminates how vernacular online genres such as the digital gothic productively work through the aesthetic and conceptual tensions underpinning technological change in the networked digital era.

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Raczkowski, Felix, and Mary Shnayien. "History and Aesthetics of Progress Indicators." Tekniikan Waiheita 37, no. 3 (October 23, 2019): 57–67. http://dx.doi.org/10.33355/tw.86775.

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Progress indicators are continuously changing and modulating their originally fairly limited functions of signifying the progress of human or machinic labor in industrial or computational contexts, to the point where they appear as an aesthetic convention of measurement in popular culture and self-management. This development raises questions regarding the shifting status of digital media aesthetics in digital cultures, which this paper will address by outlining a brief media history of progress indicators, exploring some of the various functions fulfilled by them, and by discussing the implications of the shift in place, form and function of progress indicators.

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Wang, You Zhi, and Ken Nah. "A study on the Computational Aesthetics based on Humanized Aesthetics: Focusing on the architectural design." Korea Institute of Design Research Society 7, no. 2 (June 30, 2022): 228–45. http://dx.doi.org/10.46248/kidrs.2022.2.228.

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In recent years, computational aesthetics, which connects science and art, is becoming a new interdisciplinary field that brings technology into art creating. With advanced CAD technology and artificial intelligence, computational aesthetics has been widely used in many design fields such as architecture and industry design. Famous design companies such as Foster+Partners, Zaha Hadid and BIG have already adopted computational and parametric design method as a competitive way to enhance creativity. But there are still some argues that this new aesthetics is superficial or even cold. In terms of generative art, as an advanced digital art, reveals a new aesthetic power, which is impressive. In this context, the purpose of the study aims at comparing computational aesthetics with aesthetics to reveal their differentiation and correlation that benefit for designer to fresh the cognition of this new approach vice versa. As methods of this research, firstly previous researches and literature are collected and comparatively analyzed on the concept and relationships of aesthetics and computational aesthetics, as well as the assessment method. Secondly, through case studies, under the characters of these two aesthetic approaches in design field, three representative cases are selected to be deeply investigated by collecting and analyzing relevant articles, books and online materials to explain the respective features. Then, after comparison and further analysis, explaining how computational aesthetics as a rational aesthetic expression can augment the limit of human aesthetic experience and the design thinking process. The final results of this paper point that aesthetics dominated by emotional mind belongs to a top-down thinking process, while computational aesthetics because of its algorithmic generated basis, which dominated by logic mind, it belongs to a bottom-up thinking process. It is expected that the findings based on this research can provide certain guidance for designers to make good use of them.

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Li, Shuo, and Jianjun Li. "Construction of Interactive Virtual Reality Simulation Digital Media System Based on Cross-Media Resources." Computational Intelligence and Neuroscience 2022 (August 5, 2022): 1–12. http://dx.doi.org/10.1155/2022/6419128.

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The combination of video and music is the most typical combination form in interactive multimedia works, which focuses on the audio-visual presentation characteristics of interactive art. Since both creative practice and theoretical research are still in the development stage, we focus on the creation of audio-visual integration in interactive multimedia works. Theoretical achievements are still very rare, and the guidance of creation theory plays an important role in the improvement of the aesthetic level of works. Therefore, for the development of interactive multimedia works creation, creating a new audio-visual relationship research path has important theoretical value and application value. It also has a certain historical significance for promoting the maturity of this art form. Through interactive virtual reality technology, this paper conducts an in-depth discussion on the simulation of digital media system across media resources. It is more suitable for the user’s preference than the PC machine side. From technical means to artistic aesthetic characteristics and practical application, the application field and industry influence of digital media art carried by virtual reality are expounded, and the problems and solutions faced at this stage are proposed. By analyzing the application of virtual reality aesthetics in interaction design, the relationship between the visual level and the experience level of virtual reality aesthetics is discussed. Starting from the basic concepts of virtual reality aesthetics and interaction design, this paper analyzes the virtual reality space architecture and aesthetic dimension of interaction design in the era of artificial intelligence, and the value of virtual reality aesthetics in interaction design. Most interactive multimedia works rely on the open programming environment and have highly open creation tools to realize cross-media creation. The interactive integration of multimedia art and visual communication is the trend in design development. It follows the law of formal beauty and uses visual language to guide the content. Visual communication adapts to the needs of multiplatform media communication, adds multimedia art elements, and promotes the integration of scientific and technological progress and artistic development.

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Naukkarinen, Ossi, and Johanna Bragge. "Aesthetics in the age of digital humanities." Journal of Aesthetics & Culture 8, no. 1 (January 2016): 30072. http://dx.doi.org/10.3402/jac.v8.30072.

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34

Bolewski, Christin. "Digital Visualisation Technology Reinterpreted through Chinese Aesthetics." International Journal of Technology, Knowledge, and Society 6, no. 1 (2010): 129–38. http://dx.doi.org/10.18848/1832-3669/cgp/v06i01/59493.

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35

Fetveit, Arild, and Gitte Stald. "Online debate on digital aesthetics and communication." Northern Lights: Film and Media Studies Yearbook 5, no. 1 (September 7, 2007): 141–58. http://dx.doi.org/10.1386/nl.5.1.141_7.

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36

Cleveland, Paul. "Aesthetics and complexity in digital layout systems." Digital Creativity 19, no. 1 (March 2008): 33–50. http://dx.doi.org/10.1080/14626260701847498.

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37

Fazi, M. Beatrice. "Digital Aesthetics: The Discrete and the Continuous." Theory, Culture & Society 36, no. 1 (May 11, 2018): 3–26. http://dx.doi.org/10.1177/0263276418770243.

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Aesthetic investigations of computation are stuck in an impasse, caused by the difficulty of accounting for the ontological discrepancy between the continuity of sensation and the discreteness of digital technology. This article proposes a theoretical position intended to overcome that deadlock. It highlights how an ontological focus on continuity has entered media studies via readings of Deleuze, which attempt to build a ‘digital aisthesis’ (that is, a theory of digital sensation) by ascribing a ‘virtuality’ to computation. This underpins, in part, the affective turn in digital theory. In contrast to such positions, this article argues for a reconceptualization of formal abstraction in computation, in order to find, within the discreteness of computational formalisms (and not via the coupling of the latter with virtual sensation), an indeterminacy that would make computing aesthetic qua inherently generative. This indeterminacy, it is argued here, can be found by reconsidering, philosophically, Turing’s notion of ‘incomputability’.

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Beardon, Colin. "The Digital Bauhaus: aesthetics, politics and technology." Digital Creativity 14, no. 3 (September 2003): 169–79. http://dx.doi.org/10.1076/digc.14.3.169.27871.

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Tavares, Monica. "The digital aesthetics: Its origins and paradigms." Technoetic Arts 9, no. 1 (September 5, 2011): 3–15. http://dx.doi.org/10.1386/tear.9.1.3_1.

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Barker, Timothy. "Toward a Process Philosophy for Digital Aesthetics." Process Studies 41, no. 1 (2012): 188–89. http://dx.doi.org/10.5840/process201241115.

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Susca, Vincenzo. "Open-air museums: digital cultures, aesthetics and everyday life." Vista, no. 7 (April 15, 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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Phelan, James. "Rhetorical aesthetics and other issues in the study of literary narrative." Narrative Inquiry 16, no. 1 (August 29, 2006): 85–93. http://dx.doi.org/10.1075/ni.16.1.12phe.

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The current study of literary narrative is a vibrant and various activity, marked not by a single orthodoxy but by multiple approaches. Within that variety there are five especially salient issues currently being investigated: nonmimetic narrative; digital narrative; the fact/fiction distinction; narrative space; and rhetorical aesthetics. Rhetorical aesthetics moves not toward a universal standards of literary quality but toward an understanding of how narratives work on their own terms and of appropriate general criteria for judging those terms. These criteria, as a comparison of the endings of Raymond Chandler’s The Big Sleep and Howard Hawks’s adaptation of the novel to film suggests, typically are not purely aesthetic but involve the interrelation of form, ethics, and aesthetics.

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Żakowska, Lidia. "Visualization, modelling and analyzing of transport space in cities from the aspect of aesthetics evaluation." Budownictwo i Architektura 13, no. 1 (March 11, 2014): 203–11. http://dx.doi.org/10.35784/bud-arch.1940.

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Author claims that protection of transport space environment covers all actions which enhance aesthetics of this space and which upgrades its visual properties. Protection of transport environment which is realized in a constant care of visual effect, creates a new approach to transport sustainable development research. The considerations on aesthetical evaluation in transportation are presented based on visualization methods, first at classical two-dimensional approach of linear perspective and finally in form of four-dimensional intelligent digital models of virtual space. Transport environment visualization characteristics and their perception in relation to aesthetic properties are studied, also the new emerging science of visualization is described, and finally the future directions of visualization in urban transportation development are predicted.

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Denson, Shane, and Andreas Jahn-Sudmann. "Digital Seriality: On the Serial Aesthetics and Practice of Digital Games." Eludamos: Journal for Computer Game Culture 7, no. 1 (December 23, 2013): 1–32. http://dx.doi.org/10.7557/23.6145.

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In this paper we are concerned to outline a set of perspectives, methods, and theories with which to approach the seriality of digital games and game cultures – i.e. the aesthetic forms and cultural practices of game-related serialization, which we see unfolding against (and, in fact, as a privileged mediator of) the broader background of medial and socio-cultural transformations taking place in the wake of popular media culture’s digitalization. Seriality, we contend, is a central and multifaceted but largely neglected dimension of popular computer and video games. Seriality is a factor not only in explicitly marked game series (with their sequels, prequels, remakes, and other types of continuation), but also within games themselves (e.g. in their formal-structural constitution as an iterative series of “levels” or “worlds”) as well as on the level of transmedial relations between games and other media (e.g. expansive serializations of narrative worlds across the media of comics, film, television, and games, etc.). Particularly with respect to processes of temporal “collapse” or “synchronization” that, in the current age of digitization and media convergence, are challenging the temporal dimensions and developmental logics of pre-digital seriality (e.g. because once successively appearing series installments are increasingly available now for immediate, repeated, and non-linear consumption), computer games are eminently suited for an exemplary investigation of a specifically digital type of seriality. In the following, we look at serialization processes in digital games and game series and seek to understand how they relate to digital-era transformations of temporally-serially structured experiences and identifications on the part of historically situated actors. These transformations range from the microtemporal scale of individual players’ encounters with algorithmic computation processes (the speed of which escapes direct human perception and is measurable only by technological means) all the way up to the macrotemporal (more properly “historical”) level of collective brokerings of political, cultural, and social identities in the digital age. To account for this multi-layered complexity, we argue for a decidedly interdisciplinary approach, combining media-aesthetic and media-philosophical perspectives with the resources of discourse analysis and cultural history. We approach the seriality of digital games both in terms of textual and aesthetic forms as well as in the broader context of serialized game cultures and popular culture at large.

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Denikin, Anton A. "Post-Digital Aesthetics in the Art Practices of the Digital Art." Observatory of Culture 14, no. 1 (January 1, 2017): 36–45. http://dx.doi.org/10.25281/2072-3156-2017-14-1-36-45.

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Contreras-Koterbay, Scott. "The Teleological Nature of Digital Aesthetics – the New Aesthetic in Advance of Artificial Intelligence." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 105. http://dx.doi.org/10.25038/am.v0i20.326.

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If aesthetic and teleological judgments are equally reflective, then it can be argued that such judgments can be applied concurrently to digital objects, specifically those that are products of the rapidly developing sophisticated forms of artificial intelligence (AI). Evidence of the aesthetic effects of technological development are observable in more than just experienceable objects; rooted in inscrutable machine learning, AI’s complexity is a problem when it is presented as an aesthetic authority, particularly when it comes to automated curatorial practice or as a progressively determinative aesthetic force originating in an independent agency that is internally self-consistent.Rooted in theories of the post-digital and the New Aesthetic, this paper examines emerging new forms of art and aesthetic experiences that appear to reveal these capabilities of AI. While the most advanced forms of AI barely qualify for a ‘soft’ description at this point, it appears inevitable that a ‘hard’ form of AI is in the future. Increased forms of technological automation obscure the increasingly real possibility of genuine products of the imagination and the creativity of autonomous digital agencies as independent algorithmic entities, but such obfuscation is likely to fade away under the evolutionary pressures of technological development. It’s impossible to predict the aesthetic products of AI at this stage but, if the development of AI is teleological, then it might be possible to predict some of the foreseeable associated aesthetic problems. Article received: April 10, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Contreras-Koterbay, Scott. "The Teleological Nature of Digital Aesthetics – the New Aesthetic in Advance of Artificial Intelligence." AM Journal of Art and Media Studies 20 (2019): 105-112. doi: 10.25038/am.v0i20.326.

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Linuo, Zhao. "What’s Metaverse Film? Sci-fi, DAO or Digital installation?" Revista FAMECOS 29, no. 1 (July 13, 2022): e43354. http://dx.doi.org/10.15448/1980-3729.2022.1.43354.

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“Metaverse” has been gaining popularity since 2021 and the term has observably inextricable relation with cinema. But the implication of Metaverse film should be far more than a sci-fi subgenre. Following Deleuze and Manovich’s discourse of intermediality analysis, this paper discusses how Metaverse influences cinema with its connotation, cultural principles as well as its technologies, argues that it may bring about a fundamental change to cinema, especially when it is integrated with video installations, which will change cinema in all aspects of its aesthetics, narrative and distribution, and explores these revolutions from both the aesthetic and material perspectives of cinema.

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Perotto, Francesca. "Filter Bubbles. Art and digital worlds." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 2 (January 25, 2022): 111–21. http://dx.doi.org/10.36253/aisthesis-12474.

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Our experience is marked by the constant, and often imperceptible, presence of technological actors that, with their operational mechanisms, greatly influence the processes of construction of the worlds – both physical and imaginary – in which we live and, consequently, of ourselves. In the last decade, internet-based media have introduced a further level of mediation, constituted by the activity of profiling and the construction of filter bubbles, whose power reverberates offline. The context of the pandemic contagion we are experiencing has drastically expanded the space for these actors, whose filtering mechanisms are often as pervasive as they are opaque. To overcome this problem, artistic practices and aesthetics can play a fundamental role. In this text we aim to see how, thanks to the works of some Italian artists who have built their careers by reflecting on the aesthetic aspects of the information society.

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Büssers, André. "Competence in aesthetics extended to include digital competence." Stomatology Edu Journal 4, no. 4 (2017): 242–43. http://dx.doi.org/10.25241/stomaeduj.2017.4(4).news.3.

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Gintere, Ieva. "TOWARDS A NEW DIGITAL GAME OF CONTEMPORARY AESTHETICS." SOCIETY. TECHNOLOGY. SOLUTIONS. Proceedings of the International Scientific Conference 1 (April 17, 2019): 18. http://dx.doi.org/10.35363/via.sts.2019.14.

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INTRODUCTION This paper partly envisages the research results of the European Regional Development Fund (ERDF) project (see Acknowledgements). The task is to create an innovative digital game in the cross-cutting genres of art game and educational game. The game presents the specific aspects of digital art games and their historical background. Work on the new game will be carried out in a collaboration of the researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Latvia). The game is being created in the framework of a Post-doctoral project led by Ieva Gintere during 2018-2021. MATERIALS AND METHODS Unity3d for game design. Blender 3d object design. Audacity and Abletone music generation and editing. Photoshop, illustrator for game texture, art design. RESULTS The study presents an insight into contemporary digital game theory and a new threefold method of game creation named RKTR (research / knowledge transfer / research). In this model, the game is created on the basis of research and knowledge transfer: knowledge gained in the research process is transferred to the players. The game also functions as a platform of new knowledge construction as the secondary task of the game is to collect the results of the players in order to analyse the new creative tendencies and to foresee the art trends of tomorrow. The proposed method focused on the aspect of knowledge transfer is constructed as a three-level spiral: - research-based game creation (the game is based on the results of research),- knowledge transfer (the game transfers the research results to the player),- use of the gameplay results in research (the game creators collect the data of the gameplay for new research). The existing game designers and theoreticians carry out research in action where the game design is united with the game research. In the discourse of digital gaming, this is a widespread method. However, there is a missing part in this model. Knowledge gained in this type of research does not flow beyond the circle of the game’s creators and researchers. This knowledge stays within the society of the game’s designers and researchers, and functions as a tool for their future work. Knowledge is an instrument for experts, and it is not transferred to the regular player. The existing model of a research-based game helps to obtain formal and professional knowledge: it is a know-how, it tells a designer how to build a game, but it is not meant for the player. The aim of the new digital game that is being created in this project, is to connect the research results with the player so that the knowledge acquired in the research process is effectively transferred to the general public. DISCUSSION Taking into account that art today is largely interactive, the new art game will let its user play with trends of digital art such as noise, generative art and others, and to create new ones. The aim of this project is to raise the interest of a wide-ranging public for contemporary art and to point out the newest creative tendencies in art. The game would develop the creative skills of players and teach them the current trends in digital art. At the same time 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, generative art is a successor to the Fluxus movement in modernism). The new art game is intended to educate the player and to stimulate his/her creative forces. The Design Science Research method is being used in this study in order to cross-cut such remote fields as the general public, the arthouse world, codes of modern art and the tastes of the general public. The Design Science Research method helps boost efficiency and interest towards contemporary art games. It intends to integrate seemingly distant disciplines and seeks parallels in different areas in order to gain new knowledge and adapt fresh approaches. By finding common aspects in different areas, Design Science Research fuses areas and invites new trends into a research field. ACKNOWLEDGEMENTS This study has been supported by a grant from the European Regional Development Fund research “Leveraging ICT product innovations by enhancing codes of modern art” No. 1.1.1.2/VIAA/1/16/106 within the Activity 1.1.1.2 “Post-doctoral Research Aid” of the Specific Aid Objective 1.1.1 “To increase the research and innovative capacity of scientific institutions in Latvia and the ability to attract external financing, investing in human resources and infrastructure” of the Operational Program “Growth and Employment”. Homepage of the research: http://va.lv/en/research/research/leveraging-ict-product-innovations-enhancing-codes-modern-art

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