Journal articles on the topic 'Digital artwork'
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1
Gibson, Steve. "Being Formal without Being a Formalist." Leonardo 54, no. 6 (2021): 625–30. http://dx.doi.org/10.1162/leon_a_02056.
Abstract:
Abstract This article argues for the value of using formal models within the (digital media) artwork. Eschewing the antiformalism common to much of postmodernism, it argues for a more active engagement with formal concerns. Without embracing the totalizing theories of late modernist formalism, or discarding the idea of “the concept,” the author argues for a more formal approach to the making of the (digital media) artwork. The goal is to point to models that can be used to intimately connect form and concept rather than treat them as separate or warring entities. The article critically explores three very specific digital media artworks that endeavor to bridge the gap between formalism and conceptualism, each pointing to indicative (but not exhaustive) methods for reuniting form and concept.
2
Lyubchenko, Irina. "What is Art?" Interactive Film & Media Journal 2, no. 3 (June 23, 2022): 174–90. http://dx.doi.org/10.32920/ifmj.v2i3.1532.
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This paper investigates non-fungible tokens, or NFTs, and examines their place within art historical canon. Crypto-art and crypto-collectibles have flooded digital markets, offering unique art. Recently, Beeple’s Everydays—The First 5000 Days, the first digital artwork fitted with a non-fungible token offered by the major auction house Christie’s, sold for $69,346,250 on March 11, 2021. It is the third most expensive artwork sold by a living artist, following Jeff Koon’s sculpture Rabbit (1986) and David Hockney’s painting Portrait of an Artist (Pool with Two Figures) (1972). While Jeff Koons and David Hockney are the artists, whose theoretical perspectives are well known and have a secured place in an art historical canon, Beeple’s work and works of other digital NFT artists have not been fully investigated to be positioned in relation to art history, seemingly existing in a theoretical vacuum. The absence of artistic statements that usually accompany artworks contributes to this effect. Is it possible to think of the 21st century NFT-backed digital artists as the avant-gardes, who, like their 20th -century predecessors, confronted and condemned the art historical tradition? Using the case study of Beeple’s Everydays, this paper proposes an answer to the puzzling question of how a mosaic of everyday sketches produced by “pooping something out in 45 minutes,” using Beeple’s own words, was claimed to be “the next chapter in art history.” Using historical and textual analyses, this essay provides a critical response to the recent digital artworld trends driven by the decentralized networks and currencies existing in fully digital ecosystems.
3
Zhao, Ziruo, and Jingru Wei. "Blockchain Technology in the Protection and Inheritance of Non-traditional Heritage." British Journal of Philosophy, Sociology and History 2, no. 2 (September 26, 2022): 05–08. http://dx.doi.org/10.32996/pjpsh.2022.2.2.2.
Abstract:
Intangible cultural heritage is an important part of the excellent Chinese traditional culture. Protecting, passing on, and utilizing intangible cultural heritage is of great significance in continuing the historical lineage, strengthening cultural confidence, promoting civilization exchange and mutual understanding, and building a socialist cultural power. This paper provides a blockchain technology-based method for digital deposition of cultural relics and artworks by digitizing the information of the artwork or the owner of the cultural relic and the artwork itself, and then the digitized file is recorded on a blockchain that cannot be tampered with artificially by deriving a unique fixed digital fingerprint with a hashing algorithm. Through such a method, a complete set of data relationship chain is established between the inheritor (owner), the cultural carrier (cultural relics and artworks), and the physical data (high-definition scanned photos, three-dimensional data models, etc.), which is permanently stored and cannot be tampered with, in order to solve and improve the problems of ownership confirmation, theft prevention, identification and damage prevention in the custody of cultural relics and artworks collection.
4
Abdou, Doaa, and Fatma Elnasr. "PROSPECTS OF INVESTMENT IN DIGITAL ART: CASE OF ETHEREUM AND NON-FUNGIBLE TOKEN (NFT)." Economics & Law 3, no. 2 (December 30, 2021): 20–30. http://dx.doi.org/10.37708/el.swu.v3i2.3.
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This paper focuses on the technology impact via Blockchain to change consumer behavior in the digital art industry. The paper objectives are three folds: first, analyze the impact of Ethereum in selling digital artwork and on the bank world. Second, investigate the effects of Non-Fungible Token on the art industry. Third, highlight how people can sell their artworks, tweets, or even memes for thousands of dollars. Fourth, explain the effect of Ethereum in creating value for artwork and why a meme that includes nothing unique to be sold for an unbelievable price? The paper provides insights on the future of the digital arts industry and the rational behavior of the developers, artists, and even customers, as the three parties shape the business of the NFL’s success. It reflects on the investment behavior in digital arts and the importance of a secure long-term investment for a niche segment that seeks to satisfy their need of acquiring unique products. The paper serves as a guide for digital art and focuses on how AI applications create profitable markets.
5
Li, Kangying, Jiayun Wang, Biligsaikhan Batjargal, and Akira Maeda. "Intuitively Searching for the Rare Colors from Digital Artwork Collections by Text Description: A Case Demonstration of Japanese Ukiyo-e Print Retrieval." Future Internet 14, no. 7 (July 18, 2022): 212. http://dx.doi.org/10.3390/fi14070212.
Abstract:
In recent years, artworks have been increasingly digitized and built into databases, and such databases have become convenient tools for researchers. Researchers who retrieve artwork are not only researchers of humanities, but also researchers of materials science, physics, art, and so on. It may be difficult for researchers of various fields whose studies focus on the colors of artwork to find the required records in existing databases, that are color-based and only queried by the metadata. Besides, although some image retrieval engines can be used to retrieve artwork by text description, the existing image retrieval systems mainly retrieve the main colors of the images, and rare cases of color use are difficult to find. This makes it difficult for many researchers who focus on toning, colors, or pigments to use search engines for their own needs. To solve the two problems, we propose a cross-modal multi-task fine-tuning method based on CLIP (Contrastive Language-Image Pre-Training), which uses the human sensory characteristics of colors contained in the language space and the geometric characteristics of the sketches of a given artwork in order to gain better representations of that artwork piece. The experimental results show that the proposed retrieval framework is efficient for intuitively searching for rare colors, and that a small amount of data can improve the correspondence between text descriptions and color information.
6
Pasko, Galina, Alexander Pasko, Turlif Vilbrandt, Arnaldo Luis Lixandrão Filho, and Jorge Vicente Lopes da Silva. "Ascending in Space Dimensions: Digital Crafting of M.C. Escher's Graphic Art." Leonardo 44, no. 5 (October 2011): 411–16. http://dx.doi.org/10.1162/leon_a_00241.
Abstract:
M.C. Escher's artwork has inspired and arguably even informed computer science, as well as geometric and shape modeling. Even today, much of his work poses challenges to conventional digital shape modeling systems. The authors introduce several interesting problems presented by Escher's graphic artworks and describe their use of a novel approach, based on implicit surfaces and their extension (Function Representation), to produce 2D, 2.5D and 3D computer models. They also discuss several physical objects or sculptures based on these models, crafted using digital fabrication processes.
7
Fiordelmondo, Alessandro, Sergio Canazza, and Niccoló Pretto. "Reactivating and Preserving Interactive Multimedia Artworks: An Analog Performance from the Seventies." Journal on Computing and Cultural Heritage 17, no. 2 (March 26, 2024): 1–17. http://dx.doi.org/10.1145/3647995.
Abstract:
Interactive multimedia art shows a complex nature as it is time- and process-based, interconnected with technology, derived by the participation of several authors (artists, technicians, performers, to name a few) and an audience, and it is strongly tied to the moment and space of the original exhibition. These characteristics make the preservation of these artworks a multifaceted process. Building on the foundations developed since the 2000s by international projects focused on preserving and restoring these new art forms, the paper proposes an original model for achieving dynamic preservation, called “the multilevel preservation model”. Since it is no longer possible to guarantee physical integrity for interactive multimedia artworks, dynamic preservation involves recording all the changes that occur to display the artworks in the future. In other words, it makes it possible to record the dynamic authenticity of artworks. The model proposes two fundamental properties: multiple layering, which allows to handle different levels of information about the artwork; multiple belongingness , which allows to represent the dynamic authenticity of the artwork at the archival level and achieving dynamic preservation. The paper demonstrates the high-level implementation of the model by presenting a case study: the reactivation and preservation of an analog video art performance from the 1970s. This case study proposes an interesting real scenario for testing the model, as the reactivation process involved the migration of the entire analog technological apparatus of the artwork into the digital domain.
8
Sprugnoli, Rachele, Marco Guerini, Giovanni Moretti, and Sara Tonelli. "Are these Artworks Similar? Analysing Visitors’ Judgements on Aesthetic Perception with a Digital Game." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–14. http://dx.doi.org/10.1145/3461663.
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Digital games have been used in the context of a cultural experience for several reasons, from learning to socialising and having fun. As a positive side effect, using digital games in a GLAM environment contributes to increasing the visitors’ engagement and making the collections more popular. Along this line, we present in this article an online game for museum environments that serves two goals: asking users to engage with the artworks in a collection in a playful environment, and collecting their feedback on artwork similarity, which may be used by curators to rethink the organisation of digital exhibitions and in general to better understand how visitors perceive artworks. The game is called PAGANS ( Playful Art: a GAme oN Similarity ), and is designed to collect similarity judgements about artworks. The software was implemented following some principles of gamification in order to quickly leverage similarity information in the cultural heritage domain while increasing user engagement and fun. The game, involving pairs of players, was used during two large public events to collect different data about the players’ behaviour and to investigate how these dimensions correlate with aesthetic perception. A thorough statistical analysis shows that age and (self-declared) gender correlates with the time and the number of moves needed to complete a session. These dimensions also link to the relevance of colour and shape in judging similarity. These findings suggest that, although artwork similarity is very subjective and may vary based on a person’s background, some trends can be identified when considering the subjects’ gender and age. This could have some practical implications; for example, it could be used to support art curators in creating digital exhibitions by grouping artworks in novel, user-centred ways.
9
Deniesa, Salsabilla, Dela Rinanda Putri, Arqam Amrullah, AdrianaMaisarah binti Mohd Farid, and Nor Audra Diana binti Md Hassan. "Copyright Protection for Creators of Digital Artwork." Indonesian Comparative Law Review 4, no. 1 (September 8, 2022): 43–58. http://dx.doi.org/10.18196/iclr.v4i1.15106.
Abstract:
The development of digital technology can be a double-edged knife for the creative industry. It is undeniable that the ease of obtaining anything from internet can lead to a new problem, one of which is copyright infringement. Copyright of digital artworks should be protected since without which it will harm the rights of art workers who upload their works in the internet. The purpose of this research is to discuss and understand the copyright protection for digital artworks as well as some legal remedies that can be taken against infringement of the exclusive rights of the creators. This normative legal research employs statutory and comparative approach. The study shows that although legal protection for digital artworks has been governed under the Copyright Act 2014 (Law Number 28 of 2014 on Copyright), however its implementation but is still lacking and therefore improvement is necessary. In addition, the awareness of art workers about their rights should also be encouraged.
10
Wang, Rongrong. "Copyright Infringement Liability of NFT Digital Artwork Platforms." Academic Journal of Management and Social Sciences 7, no. 1 (April 27, 2024): 103–8. http://dx.doi.org/10.54097/thk2ay85.
Abstract:
The development of information technology and the evolution of laws have given rise to new issues and disputes in the determination of platform responsibilities in cases of disputes over internet dissemination rights. With the advancement of the blockchain industry, the Hangzhou Internet Court in China has determined that NFT digital artwork platforms can be deemed as aiding infringement in copyright disputes. This article aims to clarify the role played by platforms in infringement cases by analyzing the technical characteristics of NFT digital artwork platforms. It will also discuss factors in determining the liability of NFT digital artwork platforms based on judicial practices, thereby elucidating the principle of "notice + necessary measures" applicable to these platforms.
11
Wan, Jixin, and Yu Xiaobo. "Intelligent Retrieval Method of Approximate Painting in Digital Art Field." Scientific Programming 2021 (November 20, 2021): 1–8. http://dx.doi.org/10.1155/2021/5796600.
Abstract:
With the rapid development of Internet technology and the wide application of image acquisition equipment, the number of digital artwork images is exploding. The retrieval of near-similar artwork images has a wide application prospect for copyright infringement, trademark registration, and other scenes. However, compared with traditional images, these artwork images have the characteristics of high similarity and complexity, which lead to the retrieval accuracy not meeting the demand. To solve the above problems, an intelligent retrieval method of artwork image based on wavelet transform and dual propagation neural network (WTCPN) is proposed. Firstly, the original artwork image is replaced by the low-frequency subimage after wavelet transform, which not only removes redundant information and reduces the dimension of data but also suppresses random noise. Secondly, in order to make the network assign different competition winning units to different types of modes, the dual propagation neural network is improved by setting the maximum number of times of winning neurons. Experimental results show that the proposed method can improve the accuracy of image retrieval, and the recognition accuracy of verification set can reach over 91%.
12
Yan, Yihan. "Study on Protection Measures and Risk Management Strategies for Cultural Relics and Artworks." Advances in Economics, Management and Political Sciences 53, no. 1 (December 1, 2023): 37–45. http://dx.doi.org/10.54254/2754-1169/53/20230782.
Abstract:
Works of art and cultural relics are an important part of the Chinese cultural heritage, and every piece of art and cultural relic contains a rich historical story behind it. Moreover, works of art and cultural relics also represent the image of the country and indicate the long history of Chinese civilization; At the same time, art and artifacts are valuable resources and achievements for historical research and education. However, with the rise of the art market and the excavation of cultural relics, more and more works of art and cultural relics are subject to the risk of damage. Hence, the protection of works of art and cultural relics is urgent. The article analyzes and describes the current situation and ways of artwork and cultural relics protection through the risk factors of artwork and cultural relics, relevant laws, and the protection aspects of artwork and cultural relics. This study will use case analysis and comparative analysis research methods to explore the protection methods and protection degrees of different aspects of cultural relics and artwork protection, such as physical, digital, and legal. It also reflects the importance of cultural relics and works of art in the country and the role of cultural heritage through the importance of protecting cultural relics and artworks.
13
Na, Li. "Research on Influence of Digital Media Works on Painting Work." Highlights in Business, Economics and Management 21 (December 12, 2023): 137–46. http://dx.doi.org/10.54097/hbem.v21i.13743.
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Thanks to the technological revolution, mankind has entered the interactive era. Under the trend of digitalisation, the application of AI robots, meta-universe, ChatGPT, NFT, VR, virtual space and other technologies in creation, the combination of traditional painting and digital media technology not only changes the form of expression of the paintings themselves, but also guides the artist's way of thinking and semantic output in the act of creation, making the artist's The way of expression, media materials, creative stance and the state of the viewer have all undergone significant changes. What many artworks nowadays pursue is not the effect of the picture in the general sense, but the programme and process of the formation of the work. From this point of view, the aesthetic experience focuses on the process of contact between the viewer and the artwork, and the viewer's participation becomes more and more important in reflecting the value of the artwork. With the help of case studies, this article develops from three major points, namely, creative thinking, creative process and expression of works, to analyse the qualities of contemporary digital media art creation, focusing on the role of cultural aesthetics and way of thinking for artists and audiences. Finally, through the self-analysis and summary of the author's works combined with digital media technology.
14
f, f., and f. f. "“Art on the Chain”: A Metacosmic Perspective on the Development and Aesthetic Value of NFT Digital Art." Society for Chinese Humanities in Korea 85 (December 31, 2023): 503–16. http://dx.doi.org/10.35955/jch.2023.12.85.503.
Abstract:
The integration of digital technology with cultural consciousness has led to its widespread use in the field of culture and art. Digital art has become a popular cultural phenomenon, promoting the development of this field. As digital art gains wider acceptance as a form of artistic expression, it is increasingly used in creative works. This paper focuses on digital art as a research subject to explore its design thinking and aesthetic value. This text presents a systematic analysis of the current situation and attributes of NFT digital art, including its financial and social domain attributes. Practical cases are used to illustrate the emergence of NFT digital art in Chinese culture and market. The relationship between NFT digital art and aesthetics is thoroughly examined in terms of aesthetic thinking. The study also delves into the redefinition of aesthetics in the digital era, offering new perspectives on its future development. This paper focuses on the artistic creation of NFT digital art in historical restoration, virtual reality, and augmented reality experiences. It reveals the value transcendence of NFT digital art in the historical meta-universe. The paper forms a value-generating circuit model of NFT artwork starting from technology through theoretical sorting and multi-level comparison. The meta-universe field is the subject of study, with a focus on the centralized, decentralized, and de-centralized artwork value negotiation modes of digital auction platforms, virtual art communities, and interactive art worlds. The text comprehensively discusses the evolutionary trends of technical and economic value bubbles, social and usage value highlighting, and aesthetic and contextual value stabilization presented by NFT artworks.
15
Jung, Hyun Chun, and Jin Wan Park. "Digital Kaleidoscope : Interactive Media Artwork Using Kaleidoscope Effect." CONTENTS PLUS 13, no. 2 (February 28, 2015): 123–34. http://dx.doi.org/10.14728/kcp.2015.13.02.123.
16
Perreau, Madeleine Elna, Muhammad Fauzan Abu Bakar, Muhamad Hafiz Hassan, Valerie Michael, and Mohd Razif Mohd Rathi. "The impact of technology development upon art essence intricacy on arts: The perspective of art practitioners in Malaysia." International Journal of Asian Social Science 13, no. 10 (October 20, 2023): 328–43. http://dx.doi.org/10.55493/5007.v13i10.4898.
Abstract:
This paper presents and discusses the relative issues of the development of modern technology that directly impact the creation of artwork. The artistic value has always been argued and discussed as the era changes occasionally. The artistic world has again learned the value of integrating and applying technology to artists' artworks. The technology enforcement, in alignment with the demands of the new generations, kept contextual and conceptual artworks secondary. This paper will elaborate on the relationship between technological applications and artworks' impact. As the digital era shifted rapidly, more advanced technological applications were valued more than conceptual value. Art appreciation has become more tangible rather than elaborate. Thus, it is important to simulate a conceptual framework to understand the phenomenon properly. Multiple understandings of the theory of the development of technological implications support the conceptual framework. This study conducted exploratory research by collecting primary data through a focus group interview with Fine Artists, Graphic Artists, and Hybrid Artists in an open session and discussing by elaborating on the topics mentioned. An underlying understanding of the conceptual framework has been achieved, and a new conceptual framework has been developed. This paper is limited to the technological implications of the value of artworks and the artist's experience. The advanced conceptual framework of the Art Intricacy Performance Model will define artwork to recognise the proper understanding of its value and direction.
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Düzenli, Kerem, and Nazım Ziya Perdahçı. "The role of digitalization in today’s art: A perspective from NFT and artificial intelligenc." JOURNAL OF ARTS 7, no. 1 (February 20, 2024): 43–59. http://dx.doi.org/10.31566/arts.2291.
Abstract:
Digital technologies have increased our ability to process images. Artists in the past had fewer tools at their disposal to create their artworks. There is a revolution in art today thanks to development of computer technologies. Activities of artists using new technological tools that emerge with digitalization can be defined as digital art. All branches of art where art and technology combine are within the scope of digital art. The main difference between traditional art and digital art is the medium where the artwork is created. In traditional art, a musician uses a musical instrument to display his work, or a painter produces his work with canvas and brush. In digital art, this occurs using technological devices. Many applications, from digital graphic arrangements to video installations, from virtual realities to artificial intelligence applications, fall within the scope of digital art. This article's goals are to investigate how technology has affected art throughout history and to look at how digital art is created and sold. In this article, the impact of artificial intelligence on today's art and artists will be examined. NFTs, another controversial artwork of today, will be focused on and information will be given about the variants of these new technologies in today's art. Literature review and compilation were chosen as the method. According to the findings, artists who closely follow technological developments are the pioneers of the digitalization and dissemination of art. With the evolution of artificial intelligence from its first applications to the present day, artificial intelligence has now turned into a productive tool that can produce works that have never existed before, beyond being just an algorithm. In addition, it has been observed that, thanks to NFTs, digital art can escape the authority of art institutions, create its own autonomous space in a decentralized environment, and present itself as a digital asset open to everyone.
18
Sookkaew, Jirawat, Phanom Chongkon, and Nakarin Chaikaew. "Technology of Digital Art for Adapting Ancient Visual Art Designs." International Journal of Emerging Technology and Advanced Engineering 12, no. 8 (August 2, 2022): 125–35. http://dx.doi.org/10.46338/ijetae0822_16.
Abstract:
Visual arts, design, and the creation of visual arts have been beginning along with human life for a long time. They have evolved in parallel together. The creation of human visual art is driven by inspiration and driven and taken to be a visual artwork. Creating digital art is a prevalent tool in today's era. It is a creative art technique that combines digital technology and the creation of visual artworks together. Bringing the cultural value of art that is the heritage of our ancestors who have created art that is considered valuable for future generations by using digital art for inheritance. It is also considered another method of transmitting, disseminating, and bringing the values of these cultural arts and cultures to be able to be inherited and passed on to the next era
19
Zhai, Wenbin. "Innovation and Research of Digital Artwork Design Based on Big Data and Integrated Media." Journal of Function Spaces 2022 (September 19, 2022): 1–10. http://dx.doi.org/10.1155/2022/6333688.
Abstract:
We are in the era of big data, and art, which has developed along with human history, has been given new vehicles and forms of creation with the use of integrated media technology. This study first introduces artwork and its definition and classification, then briefly describes the definition and development of digital art, and focuses on the development, contribution, and drawbacks of digital artwork NFT (nonfunctional token). This study divided the design model into four layers based on the neural network calculation of factorization machine to build, and the data of each layer was analyzed and processed to build the FNN algorithm model. It was found that the largest proportion of NFT artworks circulating in the trading market is in paintings, at 55%. The HSV color space was selected as the color perception model, and then the picture pixel positions were determined, and redundant pixels were eliminated. To avoid data overflow, the spatial memory occupied by the pixels of the painting was calculated. The results showed that the growth of pixel space complexity was smooth and converged to a straight line, indicating that the original pixel data extracted in this experiment was stable. The circle was selected as the basic guideline for the creation of four digital art paintings with an overall uniform but innovative style.
20
Rani, Rekha. "Metadata and its Elements for the Storage and Retrieval of Graphic Material and Artwork." VEETHIKA-An International Interdisciplinary Research Journal 9, no. 2 (June 30, 2023): 19–25. http://dx.doi.org/10.48001/veethika.2023.09.02.004.
Abstract:
In today's digital age, the management and preservation of artwork have taken a digital turn, necessitating the use of advanced tools and methodologies. One such crucial aspect is metadata – the structured information that provides context, description, and organization to artistic creations. The current research delves into the diverse forms of metadata and their constituent elements utilized in the context of Graphic Material/Artwork across a range of institutions, museums, and galleries. Metadata standards, that aid in managing, describing, indexing, and ensuring the long-term preservation of digital information. This article will prove to be a valuable reference for professionals such as Fine Arts College Librarians, Archivists, Technicians, and other personnel involved in describing Graphic Material/Artwork. Within this piece, a presentation is made of the various metadata standards and their corresponding components, encompassing frameworks like Categories for the Description of Works of Art (CDWA), CDWA Lite, Dublin Core, VRA (Visual Resource Association) Core 4.0, RLG REACH (Record Export for Art and Cultural Heritage), and Object ID. These standards are employed to organize and characterize Graphic Materials/Artwork, underscoring the significance of metadata in the art world. This significance is highlighted by showcasing its diverse types, elements, and standards that collectively facilitate efficient organization, accessibility, and preservation.
21
Reddiar, Surajkumar. "NFT – MARKETPLACE USING ICP BLOCKCHAIN AND CUSTOM TOKENS." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 04 (April 29, 2024): 1–5. http://dx.doi.org/10.55041/ijsrem32192.
Abstract:
The Cutting-Edge ICP Blockchain Marketplace is a groundbreaking platform revolutionizing NFT trading through the innovative utilization of the Internet Computer Protocol (ICP) blockchain. Our marketplace provides a secure, transparent, and tamper-proof environment for buying, selling, and trading NFTs. With a user-friendly React frontend, users can seamlessly navigate through a diverse collection of NFTs, including digital artwork, collectibles, virtual real estate, and domain names. Simplified trading processes empower users to list NFTs, set prices, and engage in secure transactions effortlessly. Curated collections feature exceptional NFT artworks and rare collectibles, fostering creativity and passion within our community. Through the immutability and transparency of blockchain technology, our marketplace ensures the authenticity and provenance of each NFT, establishing a trusted ecosystem for users to explore and exchange digital assets with confidence. Key Words: NFT Marketplace, digital assets, ICP Blockchain
22
Paoletti, D., G. Schirripa Spagnolo, M. Facchini, and P. Zanetta. "Artwork diagnostics with fiber-optic digital speckle pattern interferometry." Applied Optics 32, no. 31 (November 1, 1993): 6236. http://dx.doi.org/10.1364/ao.32.006236.
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Sakti, Firstyan Artista, Triyono Widodo, and Abdul Rahman Prasetyo. "Penciptaan Seni Lukis Semi-Realis Digital sebagai Apresiasi Terhadap Pemuda Penggiat Kebudayaaan Tradisional Masa Kini." INVENSI 7, no. 2 (December 16, 2022): 87–103. http://dx.doi.org/10.24821/invensi.v7i2.6344.
Abstract:
Pola hidup pemuda penggiat kebudayaan tradisional yang dapat bersinergi dengan masa kini perlu diapresiasi dalam karya. Hal itu disebabkan oleh pemuda penggiat kebudayaan tradisional di masa kini menawarkan pola hidup yang dapat memanfaatkan kecanggihan zaman dan nilai luhur kebudayaan tradisional. Apresiasi dilakukan untuk menghargai pencapaian tersebut serta memberi wawasan tentang keberadaan pemuda penggiat kebudayaan tradisional kepada penikmat karya. Metode yang digunakan adalah empat tahap penciptaan milik Catharina Patrick. Tahapan tersebut antara lain, tahap persiapan, tahap penetasan, tahap inspirasi, dan tahap pengembangan. Seni lukis digital dengan corak semi realis dipilih sebagai bentuk perwujudan karya. Hasil dari keseluruhan proses penciptaan kali ini adalah enam karya lukis digital yang dicetak pada neon box. Digital Semi-Realist Painting Creation as an Appreciation for Youth Activists of Today's Traditional Culture Abstract The accomplished lifestyle of young traditional culture activists that could be synergized with the current situation should be appreciated through artwork. It was because the young traditional activists in the current situation offer a lifestyle that could optimize the recent development with the great value of traditional culture. The appreciation is created to value that achievement as well as give some insights about the existence of the young traditional culture activist to the artwork appreciator. The methodology used in this research is based on Catharina Patrick's four stages of creation, which were the preparation stage, idea emergence stage, inspiration stage, and development stage. The digital paintings with semi-realism visualization were selected as a medium for the artwork's embodiment. This creation process results are six digital paintings applied to neon boxes.
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Chen, Meiho. "Metaverse Virtual Art Assets That Is Breaking Through the Confinement of Materials in View of Authenticity and Immortality." International Journal of Social Sciences and Artistic Innovations 2, no. 3 (September 30, 2022): 1–5. http://dx.doi.org/10.35745/ijssai2022v02.03.0001.
Abstract:
The conservation by the metaverse cloud computing technology that is breaking through the confinement of materials which supply the virtual art assets solve not only the debate of artwork restoration, but also the storage space for our abundant art assets. A participatory culture of the meme generation estimates that we can combine the virtual and physical artwork so as to guide the public to better understand the artwork and improve the aesthetic environment of society in the digital world. Therefore, the creator’s spirit of sacrifice for art can achieve immortality.
25
Alves da Veiga, Pedro. "Patient Zer0." International Journal of Art, Culture, Design, and Technology 11, no. 3 (December 21, 2022): 1–19. http://dx.doi.org/10.4018/ijacdt.314953.
Abstract:
Patient Zer0 is an interactive generative artwork, designed around the poem “In Memory of Anyone Unknown to Me” by Elizabeth Jennings and created during the first confinements imposed by the COVID-19 pandemic in 2020. While it has been showcased in several online exhibitions, this article details and analyses, for the first time, the artwork's algorithmic approach, as well as its aesthetics, the different media components, and the artist's intentions behind their inclusion and combination. In line with Springgay's, Irwin's, and Kind's a/r/tography, a recent creative research method is presented here, a/r/cography, which is complemented by a phenomenological dimension, as the author experienced the events from a physical, intellectual, and emotional perspective, in isolation, while at home in Portugal. The whole process was documented in a digital journal, which not only supported the underlying research but also documented the artwork variants and evolution. Patient Zer0 was entirely coded in Processing.js.
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Man Lau, Ching, and Carlos Sena Caires. "An Attempt to Examine Digital Native and Digital Immigrant Macau Graphic Designers' Perceptions of Adopting Generative Design." International Journal of Creative Interfaces and Computer Graphics 13, no. 1 (January 1, 2022): 1–16. http://dx.doi.org/10.4018/ijcicg.311424.
Abstract:
The manifestation of generating digital visuals through an algorithm is gaining worldwide attention in the graphic design industry. It is a new form of computing that visualizes data input by the designer or collected in the physical environment and turns them into artwork. The generative design of ‘Macau Design Award 2019' was the first of its kind being adopted locally. This key visual design received mixed feedback in the field. There is concern that erroneous perceptions of such a new way of designing could detach Macau from the global design trend. The purpose of this paper, in the form of an exploratory case study combined with a survey, is to understand local graphic designers' perspectives of generative design. The authors want to examine how digital native and digital immigrant designers perceive the phenomenon and their degree of acceptance. The data were obtained through an online questionnaire shared with the Macau Designers Association members. UTAUT2 model was employed to analyse the main obstacles to their attitudes towards adopting generative design in their artwork.
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Ma, Hongtao. "NFT Popularity -- Digital Artwork and Baudrillard's Theory of Consumption Alienation." Advances in Economics, Management and Political Sciences 3, no. 1 (March 21, 2023): 63–69. http://dx.doi.org/10.54254/2754-1169/3/2022764.
Abstract:
With the popularity of 2021 NFT digital art, some concepts that people pay little attention to are gradually coming into peoples view. In the transaction process of digital artworks, the introduction of blockchain technology, the application of Non-Fungible Token (NFT) and other technologies or concepts gradually make it possible to sell a large number of digital products with cultural symbol characteristics. Therefore, the post-modernity era, which is composed of simulacra and new technologies, cultures and social forms, has arrived, as the French scholar Jean Baudrillard said. NFT art formally marks the end of the modern era dominated by production, industrial capitalism. This paper will explore the relationship between consumption alienation and the popularity of digital art through the perspective of consumption alienation put forward by Baudrillard
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Frew, James Eley Haldane. "Painting as a post-digital formalism." Journal of Contemporary Painting 9, no. 2 (October 1, 2023): 167–91. http://dx.doi.org/10.1386/jcp_00054_1.
Abstract:
The post-digital is a genre which, since the early 2000s, has gradually embedded itself within mainstream culture, saturating and influencing many faculties of knowledge, as a standardization of digital technologies: the aftermath of the Digital Revolution. The fine arts have borne witness to this cultural shift, readily accommodating post-digital thematics which have percolated into the field of painting and its continual expansion. The following article aims to define painting as a post-digital formalism by: chronologizing post-digital painting and its precursory technological and cultural developments to situate it within a wider historical canon; describing the translative capacity of contemporary painting (as an inherent feature of the post-digital painted gesture); and charting the shifting formal topography of painting resulting from the conflation of medium (the formal parameters of an artwork) and media (the networked, mass communicative status of an artwork). Finally, this enquiry synthesizes an expansion of characteristic post-digital formal traits termed herein as ‘Digital Factures’. Resultantly, an expanded Taxonomy of Digital Factures that maps technology’s role within contemporary painting is situated, providing a new insight as to the definition of painting’s expanding processes and trends in an age after new media.
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Kirilenko, V. P., G. V. Alekseev, and A. S. Rumyantsev. "Copyright and Digital Sovereignty." EURASIAN INTEGRATION: economics, law, politics 17, no. 1 (March 31, 2023): 76–88. http://dx.doi.org/10.22394/2073-2929-2023-01-76-88.
Abstract:
Digital transformation affects all social spheres bringing to life interactive technologies and virtual reality. Since the virtual (digital) space depends on the digital and creative solutions that form its technological base, insofar the legal regime of copying creative solutions affects both the freedom of creativity necessary for sustainable development and public control which is significant for maintaining the manageability of sovereign states and integrational unions.Aim. Improving the legal regime for the protection of interactive works to create a universal and harmonious information space where the rights of authors and the economic interests of software developers are protected, as well as digital sovereignty is guaranteed.Tasks. The concept development for legal protection of interactive works and the political and legal modeling of the digital (information) space presuppose the implementation of international agreements in the field of intellectual rights, as well as solution of several tasks to formalize the results of the creative activity that are perceived through digital technologies.Methods. Political and legal modeling of the digital space is carried out by introducing terminological certainty and creating a system of the interactive works protection. Such legal construction should provide effective public control while preserving creative freedom in digital space.Results. The protection of the copyright and moral rights of the authors of interactive works differs significantly from the legal protection of audiovisual artworks and literature. While the form of objective expression in computer programs may be similar to a literary artwork, their perception by the target audience is fundamentally different in that it models a virtual (digital) space, which the state administration seeks to control in recent years.Conclusion. The state administration’s tendency to digital sovereignty makes sense only if the target audience demonstrates high demand for interactive artworks published under the state jurisdiction. Since the information space is universal, the digital sovereignty of the state is inextricably linked with participation in integration unions that ensure the p roper quality of the results of creative work and create the digital space that is necessary under digital transformation for the interactive art development and the prosperity of creative corporations.
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Paoletti, Domenica. "Automated digital speckle pattern interferometry contouring in artwork surface inspection." Optical Engineering 32, no. 6 (1993): 1348. http://dx.doi.org/10.1117/12.133316.
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Yoon, Ji-Hyun. "Server Development for Data Logging and Visualization of Digital Artwork." Journal of Digital Art Engineering and Multimedia 7, no. 3 (September 30, 2020): 187–98. http://dx.doi.org/10.29056/jdaem.2020.09.01.
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Resmadi, Idhar, Rendy Pandita Bastari, Lingga Agung, and Luqman Rusdan Nugraha. "Performativity of Virtual Community: An Analysis of Actor-Network Theory in NFT Virtual Community." Jurnal Sosioteknologi 21, no. 3 (December 28, 2022): 265–77. http://dx.doi.org/10.5614/sostek.itbj.2022.21.3.4.
Abstract:
Visual artists used NFT (non-fungible tokens) to market artwork and build virtualcommunity networks. NFTs are special certificates or licenses for digitally sold items.In this context, the presence of NFT creators has given rise to a virtual communityinvolving many digital media activities. The phenomenon then offers a variety of newtechnology-based relationships (blockchain, metaverse, NFT, Twitter, Twitter Spaces,Discord, and Clubhouse) and human actors (artists, digital artists, and designers), whichgive rise to specific characteristics to interact with each other or market their artworkin a virtual community. This research aims to discuss the interaction process in the NFT virtual community to understand the NFT ecosystem based on digital media. The actor- network theory is used to understand the network relations between human and non-human actors interacting through various digital platforms. The results of this study showed that the NFT virtual community could not be separated from the presence ofhuman and non-human actors.
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Palazzi, Claudio E., and Marco Roccetti. "A Groupware for Pigment Identification in Cultural Heritage." International Journal of Virtual Reality 8, no. 3 (January 1, 2009): 51–56. http://dx.doi.org/10.20870/ijvr.2009.8.3.2742.
Abstract:
The preservation of cultural heritage is a multidisciplinary field of study that is aimed at analyzing and preserving ancient artifacts. Nowadays, cultural heritage investigators can make use of available non-invasive solutions able to provide useful information about materials, techniques, and retouches. Yet, investigations on artworks are manually performed with very little automation. This is due to the need for the unique expertise of human operators but also to the lack of adequate digital support. To this aim, we have designed a groupware for supporting collaborative work among cultural heritage investigators even when located far from each other. As a practical case study we have chosen the pigment identification problem in artworks and included in the groupware an automated procedure for selecting investigation areas and for matching unknown pigments on the considered artwork with known standards in a database.
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Hurst, William, Orestis Spyrou, Bedir Tekinerdogan, and Caspar Krampe. "Digital Art and the Metaverse: Benefits and Challenges." Future Internet 15, no. 6 (May 23, 2023): 188. http://dx.doi.org/10.3390/fi15060188.
Abstract:
As a concept that is somewhat under emergence, the notion of the Metaverse varies across different academic articles. Yet there is a shared view on the benefits to its ongoing implementation, particularly for digital art, where the technology can provide a new metric for artists to showcase and sell their artwork to a global audience with minimal barriers, and for consumers to have an unbounded experience not limited by physical space or museum entry fees. In this article, a contribution is provided to a broader conversation about the future of the digital art and the Metaverse and its role in shaping our online culture. We discuss the concept of the Metaverse, its structure, the role of artificial intelligence and the benefits (and limitations) the technology holds for digital art. For a case study, we develop a 3D art gallery housing an art collection generated using artificial-intelligence-based techniques such as diffusion models. A total of 67 individuals are surveyed from three pools (two in-person and one online-based), with questions relating to the future of digital art, the Metaverse and artificial intelligence. Findings include that the majority of participants were familiar with the concept of the Metaverse and overall, they had a predominately optimistic view of both the use artificial intelligence for art, and the use of the Metaverse to support digital art, with 85.3% of the participants having already seen artificial-intelligence-based artwork. The identification of consumer segments further highlights the importance of finding customised solutions, considering consumers’ heterogenous preferences for AI-generated art. Research presented in this article will be beneficial for those looking to explore the Metaverse for artwork and develop virtual galleries, and the findings further highlight the Metaverse as a potential democratising force in the art world.
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von Schlenhenried, Ursula. "Will NFTs Solve Some of the Age-Old Problems in Art Law?" SMU Science and Technology Law Review 25, no. 1 (2022): 109. http://dx.doi.org/10.25172/smustlr.25.1.8.
Abstract:
Non-Fungible Tokens, or NFTs, are digital assets based on blockchain technology and are steadily growing in popularity in the art market. The technology has created a novel way of establishing ownership through tamper-resistant cryptographic records. A majority of NFTs are created via the Ethereum protocol and are most notably associated with other assets, such as digital art. Even prominent auction houses, like Christie’s, have joined the action. NFTs offer a whole host of new and interesting legal concerns, including questions surrounding smart contracts. The concerns surrounding traditional art, however, are long-standing and include (but are not limited to) provenance, authenticity, title, copyright infringement, and various art crimes established by statute. The combination of existing law and new technology creates uncertainty and requires exploration. This note explores how NFTs may influence a few of the long-standing issues in art law, specifically if an NFT were to be associated with tangible artwork. Further, this note argues that NFTs show promise at resolving some of the issues surrounding provenance, title, and authenticity if the artwork is created with an NFT in mind; however, the technology can also complicate these same issues—most notably copyright issues—especially with existing artworks not created with NFTs in mind. The legal concerns surrounding NFTs are uncertain and only just emerging, and as is the case with most nascent technology, regulation lags. Yet, the potential benefits to artists are encouraging and ever evolving.
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Zakaria, Salehuddin, Rafeah Legino, and Mohammad Kamal Abdul Aziz. "The Concept of National Identity in the Artwork of Female Artists in Malaysia." Environment-Behaviour Proceedings Journal 7, SI8 (October 7, 2022): 81–85. http://dx.doi.org/10.21834/ebpj.v7isi8.3918.
Abstract:
This study examines the national identity elements of the Fatimah Chik and Khatijah Sanusi artworks, which begins with the examination of relevant material, including examples of national identity-related works and visual data on the results of Malaysian female artists obtained through digital photographs and records. Identifying and recognising national identity in Malaysian female artists' works is categorised by the artwork's profile. The artwork's focus and criteria will be mapped with the inquiry of the National Cultural Congress's study (NCC). Women's attitudes in art production reflect national identity in female artists' artworks that emphasise culture, family, and accuracy. Keywords: Artworks, Female artist, National identity, Malaysia eISSN: 2398-4287 © 2019. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI8.3918
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Dumitriu, Anna, Alex May, Athanasios Velios, Zoi Sakki, Veroniki Korakidou, Hélia Marçal, and Georgios Panagiaris. "Unruly objects: NFTs, blockchain technologies and bio-conservation." Technoetic Arts 19, no. 3 (November 1, 2021): 383–97. http://dx.doi.org/10.1386/tear_00076_1.
Abstract:
This article explores and challenges notions and methodologies of conservation, including the use of blockchain technologies as a means of establishing provenance of a physical BioArtwork, of the artist’s documentation encapsulating their intentions and of the conservator’s records required for the artwork’s ongoing care. The exploration is done through a case study of an art project called ‘Unruly Objects and Biological Conservation’ created by Anna Dumitriu with support from Alex May. The artwork consists of three items containing RFID tags sealed in resin ‐ which point to the location of the artist’s documentation. Therefore, the works physically include instructions for maintaining their inherent concepts and materiality for the benefit of the conservators. Such instructions can often be difficult to track down, or become disassociated from the artwork while the digital preservation of this storage method also poses its own set of questions. The works also include biological material including mud from a bacterial ecosystem known as a Winogradsky Column, living plant material and SARS-CoV-2 (coronavirus) RNA from a plasmid construct.
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Mukmin, Patriot. "Ikonisitas dalam Arsip Foto Karya Seni Rupa Dua Dimensional." JURNAL RUPA 6, no. 2 (December 31, 2021): 90. http://dx.doi.org/10.25124/rupa.v6i2.3823.
Abstract:
Digitalization has brought new complexity to the issue of archival photographs of artworks. This paper explores the relationship between two-dimensional artwork and its representation in the form of digital archive photos. The author mobilizes the concept of the relation between representamens and objects in Charles Sanders Peirce's theory of signs. Based on the analyses carried out in this paper, the presence of the Icon and Index feels very strong in the case of archival photographs of works of art. This finding stresses the need of two types of archival photos of works, namely primary photos and secondary photos. Classification is carried out based on the level of similarity in the representation seen in the archive photo.
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Nasution, Pangeran Putra Perkasa Alam, and Mochammad Wahyu Ghani. "In The Name of “Like This”: The Appropriation of Artwork In Digital Age." International Journal of Creative and Arts Studies 6, no. 1 (August 22, 2019): 33–43. http://dx.doi.org/10.24821/ijcas.v6i1.3273.
Abstract:
The rapidly growing and massive information age in digital media platforms has created and introduced cultural ramifications on various aspects of human life.The ongoing era of globalization of the twentieth century has fuel the capabilityin digitizing and manipulating information during traffic. Cultural growth in thenew age includes: ―cultural preservation as the main ingredient of the ordinary‖;the proliferation of electronic visual images; and the construction of amultifaceted and the individual identity or social imaginary. The artworkcurrently is glorifying so many appropriations practices. All the art creations i nthe code of conduct are suitable for one aspiration, and that is the digital aestheticmarket. It is now customary to gather on the variety of artistic creations fromdifferent cultures that are appropriated as new and authentic artwork. Thus, thisarticle discusses the appropriation for the artwork in the rise of the digital mediaplatform era. This paper is an anthropological study that refers to the interpretivereflexive paradigm as the analysis of path-work. Digital media is the unit of analysis in this study.
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Wilder, Joseph W. "Using a Level-Set Model to Generate Artwork from Digital Images." International Journal of Mathematics and Soft Computing 3, no. 3 (August 8, 2013): 115. http://dx.doi.org/10.26708/ijmsc.2013.3.3.15.
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McMaster, Gerald, Michael Frederick Rattray, Natalja Chestopalova, Brittany Pitseolak Bergin, Mariah Meawasige, Maya Filipp, Yiyi Shao, and Brendan Griebel. "The Virtual Platform for Indigenous Art: An Indigenous-led Digital Strategy." Collections: A Journal for Museum and Archives Professionals 18, no. 1 (March 2022): 84–95. http://dx.doi.org/10.1177/15501906211072908.
Abstract:
Over the past decade, a multitude of digital platforms engaging with Indigenous collections of ancestral belongings have been developed for the public in an effort to reconsider and reconceptualize notions of access and Indigenous ownership in virtual space. An initiative in partnership with the Onsite Gallery, the Virtual Platform for Indigenous Art (VPIA) is a newly developed resource that originates from Dr. Gerald McMaster’s Entangled Gaze Project at the Wapatah Centre for Indigenous Visual Knowledge, OCAD University in Toronto, Canada. VPIA is a strategic digital platform that brings together a specific dataset of Indigenous artworks and cultural belongings that portray European and Asian newcomers to Turtle Island, drawn from global museum collections. The platform’s innovative approach to collections is grounded in a dual record format, where visitors are invited to create a Community-Member profile and contribute knowledge and information to artwork pages that consist of a permanent institutional record and an evolving community-generated VPIA record. The VPIA is intended to bridge communities and institutions to facilitate digital contributions of novel ideas about the Turtle Island contact zone and the implications of the colonial period, from early contact through to the twentieth century.
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Tornari, Vivi. "Interferometric Quantification of the Impact of Relative Humidity Variations on Cultural Heritage." Heritage 6, no. 1 (December 23, 2022): 177–98. http://dx.doi.org/10.3390/heritage6010009.
Abstract:
It has been shown that Relative Humidity (RH) provokes dimensional displacement detectable directly from surfaces using holographic interferometry. RH variations constitute a physical environmental load that drives organic materials to a constant equilibrium cycle. This paper is a small synopsis of the interferometric research direction and a data acquisition on the detection of the dimensional impact of relative humidity on cultural heritage objects. Since RH cycling is unavoidable, the interferometric data change depends on the object structure and RH cycle characteristics. Based on the fact that each artwork is by construction unique, and on the observation that the effects of an RH cycle on the structural condition of any artwork are also unique but the preventive conservation strategies require generalised approaches and not on a case-by-case study, being introduced is a novel, universal, preventive deterioration methodology: “deformation threshold value” (DTV). DTV is assignable to each distinct object in order to control routinely its structural condition and prevent damage. DTV is not assigned hypothetically based on any assumed/expected reactions but from a monitored calibration of the artwork in its environment. Each artwork in its hosted environment has its unique reaction. The reaction, though, is not steady but changes as the artwork changes. DTV can be acquired routinely and valued accordingly to seasonal RH change. Monitoring the seasonal RH and seasonal dimensional reaction has been shown to correspond to a standard DTV pattern whose deviations violate the expected seasonal reaction. Through the interferometric monitoring of surface, the distinct DTV acts as a safeguard for the artwork. In this synopsis, some results of the generation of DTVs are shown. Our future plan is for the DTV numbers to serve as data inputs for preventive models to formulate a distinct risk index representative of each artwork condition and to be used as remote risk warning to prevent its deterioration. Based on the DTV concept, methods and instruments for sequential data acquisition aim to present experimental data outputs as DTVs that identify transient shape changes prior to visible damage have been developed. In this research, the starting point was the interferometric quantification of the displacement of well-characterized fresh samples. The fresh samples are known in terms of density, cut, thickness, moisture content, structural condition and are submitted to RH simulation cycles. Shown here are three exemplary cases: usual, abrupt and smooth. The interferometric monitoring following the cycles of RH is a long-term duration of several weeks; measurements are performed directly from the surface, and relative displacement (RD) from temporal measurements of interference fringes provide the required output data to calculate the rate of displacement (RoD) of the surface. Measuring the impact of RH directly from the artwork surface allows the detection of the temporal diversity of structural reactions to the same RH cycle for distinct artworks. The monitoring system uses interferometric precision provided by digital holographic speckle-pattern interferometry (DHSPI) placed on a specially designed climate chamber DHSPI monitoring workstation.
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Lizun, Damian. "From Paris and Shanghai to Singapore: A Multidisciplinary Study in Evaluating the Provenance and Dating of Two of Liu Kang’s Paintings." Journal of Conservation Science 37, no. 4 (August 31, 2021): 322–39. http://dx.doi.org/10.12654/jcs.2021.37.4.02.
Abstract:
This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John’s Fort by the prominent Singaporean artist Liu Kang (1911–2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John’s Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John’s Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang’s painting materials and his working practice.
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Jauhari, Mohd Marwan, and Rafeah Legino. "Destruction Prediction: An attempt to respond with landscape in Kok Bedullah area." Environment-Behaviour Proceedings Journal 9, SI17 (January 7, 2024): 401–5. http://dx.doi.org/10.21834/e-bpj.v9isi17.5443.
Abstract:
The study's overarching goal is to address and adapt to the Kok Bedullah area's topography in a way that minimises negative impacts on the local environment. Environmental degradation in the Kok Bedullah area has causes and effects that are comparable to world crises. When creating this artwork, I used a wide range of materials that I had made specifically. Nature and man-made structures interacting is the primary inspiration for the visual style. This is accompanied by the duality of digital and analogue technical solutions within the artwork.
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Paul, Christiane. "Renderings of Digital Art." Leonardo 35, no. 5 (October 2002): 471–84. http://dx.doi.org/10.1162/002409402320774303.
Abstract:
This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.
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Starkey, Andrew, Kate Steenhauer, and Jack Caven. "Painting Music: Using artificial intelligence to create music from live painted drawings." Drawing: Research, Theory, Practice 5, no. 2 (December 1, 2020): 209–24. http://dx.doi.org/10.1386/drtp_00033_1.
Abstract:
This article describes the development of artificial intelligence (AI) techniques that monitor a painting or drawing evolving in real time and produce musical notes that relate to the individual elements of art as the artwork develops on the canvas. The article describes the practical approach required to capture the artwork unfolding in real time and then describes the framework used to develop the correlations between visual art and music. The AI technique exploits these areas of similarity within the two distinct artforms in order to respond to the live-painted elements and produce musical notes that reflect the development of the evolving artwork. A prototype of this system was implemented in a live stage performance at Aberdeen May Festival 2019 whose narrative centred on the question Is AI good or bad? Other outputs of this project are a 20-minute film and a body of (tangible) visual artwork for digital platforms and gallery environments informed and inspired by AI. The integration of these disciplines through AI transforms a static artform into one that is dynamic, interactive, transformational, transient and temporal.
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Kang, Xin, Wenyin Chen, and Jian Kang. "Art in the Age of Social Media: Interaction Behavior Analysis of Instagram Art Accounts." Informatics 6, no. 4 (December 7, 2019): 52. http://dx.doi.org/10.3390/informatics6040052.
Abstract:
Instagram is the top preferred social media platform in the art world, however, we know little about the features of the most-liked artworks, and what role does the interaction between artists and followers play in the most-liked artworks? This study used quantitative and qualitative methods to examine the interaction between artists and followers on Instagram and the features of the most-liked artworks. Data from 706 artists’ accounts 497,649 posts on Instagram and 35 questionnaires. The results reveal that likes and comments were greatly influenced by interactions, with confusion and curiosity being a big reason to engage. The artist’s life experience and interaction with the followers had a positive influence on the most-liked artworks. Interaction with followers does not have much impact on their artistic creation, although artists expect more likes. Our study expands the research of mobile social media interaction in the art world, which is of great significance for the research on the interactive psychology of artwork and digital marketing communications on social media. The findings can also support future research on citizen curators and sociology analytics research areas.
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Milani, Federico, Nicolò Oreste Pinciroli Pinciroli Vago, and Piero Fraternali. "Proposals Generation for Weakly Supervised Object Detection in Artwork Images." Journal of Imaging 8, no. 8 (August 6, 2022): 215. http://dx.doi.org/10.3390/jimaging8080215.
Abstract:
Object Detection requires many precise annotations, which are available for natural images but not for many non-natural data sets such as artworks data sets. A solution is using Weakly Supervised Object Detection (WSOD) techniques that learn accurate object localization from image-level labels. Studies have demonstrated that state-of-the-art end-to-end architectures may not be suitable for domains in which images or classes sensibly differ from those used to pre-train networks. This paper presents a novel two-stage Weakly Supervised Object Detection approach for obtaining accurate bounding boxes on non-natural data sets. The proposed method exploits existing classification knowledge to generate pseudo-ground truth bounding boxes from Class Activation Maps (CAMs). The automatically generated annotations are used to train a robust Faster R-CNN object detector. Quantitative and qualitative analysis shows that bounding boxes generated from CAMs can compensate for the lack of manually annotated ground truth (GT) and that an object detector, trained with such pseudo-GT, surpasses end-to-end WSOD state-of-the-art methods on ArtDL 2.0 (≈41.5% mAP) and IconArt (≈17% mAP), two artworks data sets. The proposed solution is a step towards the computer-aided study of non-natural images and opens the way to more advanced tasks, e.g., automatic artwork image captioning for digital archive applications.
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Kovacs, Elizabeth. "Existing in Etherium: The autographic ontology of the non-fungible token artwork." Journal of Digital Art & Humanities 2, no. 2 (December 29, 2021): 61–66. http://dx.doi.org/10.33847/2712-8148.2.2_5.
Abstract:
This paper examines the concept that legitimate autographic identity may be granted to digital images created as a non-fungible token (NFT). The blockchain technology coded permanently into minted NFT’s keep track of the legitimacy of authorship and ownership, keeping them from being duplicated and removing them from the realm of allographic art. Questions arise of what ‘legitimacy’ and ‘ownership’ for a digital image—which are so easily reproduced and circulated—even look like. The main question that must be answered is whether the backend coding of a digital file is sufficient to alter its ontology into a token of one-of-a-kind autographic work, or if it only what is visible to the viewer of the image matters for its replicability and allographic ontological nature.
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Zhao, Shichao. "Exploring How Interactive Technology Enhances Gesture-Based Expression and Engagement: A Design Study." Multimodal Technologies and Interaction 3, no. 1 (February 27, 2019): 13. http://dx.doi.org/10.3390/mti3010013.
Abstract:
The interpretation and understanding of physical gestures play a significant role in various forms of art. Interactive technology and digital devices offer a plethora of opportunities for personal gesture-based experience and they assist in the creation of collaborative artwork. In this study, three prototypes for use with different digital devices (digital camera, PC camera, and Kinect) were designed. Subsequently, a series of workshops were conducted and in-depth interviews with participants from different cultural and occupational backgrounds. The latter were designed to explore how to specifically design personalised gesture-based expressions and how to engage the creativity of the participants in their gesture-based experiences. The findings indicated that, in terms of gesture-based interaction, the participants preferred to engage with the visual traces that were displayed at specific timings in multi-experience spaces. Their gesture-based interactions could effectively support non-verbal emotional expression. In addition, the participants were shown to be strongly inclined to combine their personal stories and emotions into their own gesture-based artworks. Based on the participants’ different cultural and occupational backgrounds, their artistic creation could be spontaneously formed.