Relevant bibliographies by topics / Digital artworks

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Digital artworks'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Digital artworks"

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ElSaid, W. K. "Watermarking Digital Artworks." International Journal of Computer Applications 125, no. 12 (September 17, 2015): 17–23. http://dx.doi.org/10.5120/ijca2015906149.

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Barok, Dušan, Julie Boschat Thorez, Annet Dekker, David Gauthier, and Claudia Roeck. "Archiving complex digital artworks." Journal of the Institute of Conservation 42, no. 2 (May 4, 2019): 94–113. http://dx.doi.org/10.1080/19455224.2019.1604398.

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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.
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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.

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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.
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Zavyalov, Aleksey Sergeevich. "WEB 2.0 SOCIAL CHARACTERISTICS AND DIGITAL ARTWORKS." Bulletin of the Moscow State Regional University (Philosophical science), no. 3 (2016): 47–53. http://dx.doi.org/10.18384/2310-7227-2016-3-47-53.

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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.

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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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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.

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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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O'Brien, Daniel Paul. "The Pervasive and the Digital." International Journal of E-Politics 8, no. 3 (July 2017): 30–41. http://dx.doi.org/10.4018/ijep.2017070103.

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This paper discusses two immersive story worlds between two distinct interactive artworks. Blast Theory's A Machine to See With (2010) is a pervasive fictional experience that enables users, through the technology of their mobile phone, to become immersed within a fictional crime scenario across a real geographical setting. Dennis Del Favero's art project, Scenario (2011), by contrast, is an interactive and immersive story that takes place in a 360-degree digital cinematic space called an AVIE (Advanced Visualization and Interaction Environment). This immersive world is a mixed reality environment, a meeting place where five real users and ten digital screen characters converge and interact through the technology of motion sensing. Participants are virtually wired into the immersive world through the performance of their movement. This paper will explore both of these artworks through original interviews the author has conducted with each of the artists.
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Neustetter, Marcus. "Analogue and Digital Anecdotes and Artworks from South Africa." Third Text 23, no. 3 (May 2009): 323–34. http://dx.doi.org/10.1080/09528820902954952.

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Ciortan, Irina-Mihaela, Sony George, and Jon Yngve Hardeberg. "Colour-Balanced Edge-Guided Digital Inpainting: Applications on Artworks." Sensors 21, no. 6 (March 17, 2021): 2091. http://dx.doi.org/10.3390/s21062091.

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The virtual inpainting of artworks provides a nondestructive mode of hypothesis visualization, and it is especially attractive when physical restoration raises too many methodological and ethical concerns. At the same time, in Cultural Heritage applications, the level of details in virtual reconstruction and their accuracy are crucial. We propose an inpainting algorithm that is based on generative adversarial network, with two generators: one for edges and another one for colors. The color generator rebalances chromatically the result by enforcing a loss in the discretized gamut space of the dataset. This way, our method follows the modus operandi of an artist: edges first, then color palette, and, at last, color tones. Moreover, we simulate the stochasticity of the lacunae in artworks with morphological variations of a random walk mask that recreate various degradations, including craquelure. We showcase the performance of our model on a dataset of digital images of wall paintings from the Dunhuang UNESCO heritage site. Our proposals of restored images are visually satisfactory and they are quantitatively comparable to state-of-the-art approaches.
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Dissertations / Theses on the topic "Digital artworks"

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Meneses, Luis. "Exploring the biography and artworks of Picasso with interactive calendars and timelines." [College Station, Tex. : Texas A&M University, 2007. http://hdl.handle.net/1969.1/ETD-TAMU-1451.

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De, Wild Karin. "Internet art and agency : the social lives of online artworks." Thesis, University of Dundee, 2019. https://discovery.dundee.ac.uk/en/studentTheses/a6a64a92-2edc-44a8-b371-de4a61bdc289.

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During the 1990s, artists started to explore the possibilities of the World Wide Web. This thesis investigates online artworks by studying their agency. Why do people interact with them, as if they are alive? How do they mobilise people, or make them share visions and ideas? Based on research in largely untapped archives, it presents an in-depth examination of several case studies, exploring the artwork's ability to have the power to act in a variety of social settings. Through studying the life trajectory of the artwork, it also offers insights in how these dynamic entities undergo changes over time and across cultures. Grounded in theoretical literature on the agency of art, this research offers an innovative way of understanding Internet art and it contributes to wider conversations about the agency of art and artefacts. Case studies include: Mouchette (Martine Neddam), 'Mouchette' (1996-present). Web project (www.mouchette.org). Collection of Stedelijk Museum (Amsterdam). Shu Lea Cheang, 'Brandon' (1998-1999). Web project (brandon.guggenheim.org). Collection of Solomon R. Guggenheim Museum (New York). Lynn Hershman Leeson, 'Agent Ruby' (1998-2002). Web project (agentruby.sfmoma.org). Collection of SFMOMA (San Francisco).
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Power, Debby Akam. "The use of digital media in artworks that demonstrate contemporary cultural engagements with the rural environment." Thesis, University of Sunderland, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404642.

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Gould, C. E. "Interactive works for urban screens : a practice based study into building new ways of engaging communities in urban space through interactive artworks for urban screens." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/35462/.

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In our urban environment we are surrounded by strangers, observed via surveillance cameras and connected to millions via the global digital infrastructure. Our media is pervasive and immersive, implicit in everything we do, as the distinction between the real and virtual becomes increasing blurred. Whilst pervasive screens are becoming an essential personal tool, large format public screens form part of the furniture of our urban architecture. This study will ask how we can maximise opportunities for cultural engagement using urban screens and how this can impact on our culture. In the last ten years urban screens have been installed across the world, including in twenty-two cities in the UK funded by the BBC and Local Authorities for the Cultural Olympiad. The aim of the screens was to address local communities in order to reflect something of their respective location and community, “with a full programme of locally run community and sporting events”. (http://www.bbc.co.uk/bigscreens) Urban screens have a huge potential to play a role in changing the way that the public engages in urban space. Lucy Lippard identifies “place” as a hybrid of communal memories (Lippard, L. 1997, p9) and proposes that artist play a key role in offering community a framework from which to tackle issues, and debate. Urban screens are usually located in busy shopping centers and are ideally located to attract a broad demographic to contribute to a memory of place embracing an inclusive multicultural and tolerant approach. Through this thesis I explore how interactive works for urban screens can offer opportunity for public participation in the urban environment. Kristine Stiles and Ed Shanken propose that a key factor in interactive works is that they offer “agency” which involves freedom to make choices and to be creative in order to make a difference. (Stiles, K. Shanken E. 2011, p32) Through my literature review and current creative practice, including urban screen projects in collaboration with telematics artist Paul Sermon; “Picnic on the Screen” for the Glastonbury Festival BBC Village Screen 2009 and “Occupy the Screen” for Connecting Cities Berlin/Riga 2014, I explore how interactive artists can optimise agency, opportunities for play, creativity and self-representation to a diverse audience in order to change the way that we engage in the urban environment. Through this PhD I have developed a framework for engagement with public audiences through play.
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Yijun, Ding. "The aura of the artwork in the digitalization age : An experimental study based on Benjamin and Baudrillard." Thesis, Uppsala universitet, Institutionen för informatik och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-325739.

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This thesis explores how the aura of the artworks changes in the age of digital reproduction through the empirical experiments conducted in Uppsala Konstmuseum. By employing the definition of the aura given by Benjamin in The work of art in the age of the mechanical reproduction and The arcade project, this thesis conceptualizes the “aura” into eight dimensions and then operationalizes the eight dimensions in order to find whether audience’s evaluation of the artwork changes when they are given different stimulus in the control experiment. From the control experiment, the quantitative data will be obtained from a questionnaire and non-participant observation. The qualitative data will be obtained from the interviews. By also applying the simulacra theory of Baudrillard to the analysis part, this thesis finds that there exists a small difference in the perception of the aura between the people who see a digital copy and who see a real painting. The aura still has its power. However, such power is really weak, as many dimensions of the aura have been weakened by the digital simulacra. Through this study, I suggest the museums to take cautious steps to digitalize their artworks though there is no evidence that virtual museums can replace real museums.
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Havlik, Michele Lynne, and havlik@optusnet com au. "An investigation of Interaction Design principles, for use in the design of online galleries." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.091808.

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Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.
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Stanley, Michael Leighton. "Digital compositing with traditional artwork." Texas A&M University, 2005. http://hdl.handle.net/1969.1/2643.

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This thesis presents a general method and guidelines for compositing digital characters into traditional artwork by matching a character to the perspective, lighting, style, and complexity of the particular work of art. The primary goal of this integration is to make the resulting image believable, but not necessarily to create an exact match. As a result, the approach used here is not limited to a single rendering style or medium, but can be used to create a very close match for almost any artistic image. To develop and test this method and set of guidelines I created composites using a variety of styles and mediums.
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McCormick, Sean. "Digital album artwork for the album "This was Tomorrow"." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/35/.

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Thesis (B.F.A.)--California Polytechnic State University, 2009.
Project advisor: Mary LaPorte. Title from PDF title page; viewed on Mar. 10, 2010. Includes bibliographical references. Also available on microfiche.
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Pentes, Tatiana. "BlackBOX : painting a digital picture of documented memory." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/357.

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This study investigates and records the production of a digital media artwork blackBOX: Painting A Digital Picture of Documented Memory, generated through the media technologies of interactive multimedia, exploiting the creative potentials of digitally produced music, sound, image and text relationships in a disc based and online (Internet) environment. The artwork evolves from an imaginary electronic landscape that can be uniquely explored/ played in a non-sequential manner. The artwork/ ‘game’ is a search for the protagonist Nina’s hybrid cultural identity. This is mirrored in the exploration of random, fragmentary and non-linear experiences designed for the player engaged with the artwork. The subjective intervention of the player/ participant in the electronic artwork is metaphoric of the improvisational tendencies that have evolved in the Greek Blues (Rembetika), Jazz, and Hindustani musical and performative dance forms. The protagonist Nina’s discovery of these musical forms reveal her cultural/ spiritual origins. As a musical composer arranges notes, melodies and harmonies, and sections of instruments, so too, the multimedia producer designs a ensemble of audio-visual fragments to be navigated. Dance also becomes a driving metaphor, analogous to the players movement in and through these passages of image/ sound/ text and as a movement between theories and ideas explored in the content of the program. The central concern is to playfully reverse, obscure, distort the look of the dominating/colonialist gaze, in the production of an interactive ‘game’ and allow the girl to picture herself. One of my objectives is to explore the ways in which social research can be undertaken by the creation of an interactive program in the computer environment utilising interactive digital media technologies. The study reveals that, through the subjective intervention of the (player) user4 with the digital artefact, a unique experience and responsiveness is produced with the open ended text. The work is comprised of a website http://www.strangecities.net; an interactive CD-ROM; a gallery installation; digital photomedia images; and a written thesis documenting and theorising the production. 4 The term user, while widely debated has been in usage from the 1980s to refer to the unique human interaction with the digital artefact, electronic screen work, and computer interface.
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McCallion, P. J. "The development of methods for the reproduction in continuous tone of digitally printed colour artworks." Thesis, University of the West of England, Bristol, 2017. http://eprints.uwe.ac.uk/30002/.

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Advances in printing technologies in the late 19th century led to the development of half-toning techniques enabling the economical reproduction of photographic images in print. Whilst undoubtedly successful in low cost high volume image reproduction, half-toning representations are less faithful in detail when compared to continuous tone photomechanical methods in use at that time. This thesis asks the question: can the creative application of 21st century digital fabrication technologies enable the qualities of continuous tone imaging to be regained? In the 21st-century, printmaking may be seen as the interchange of ideas, experimental practice and interdisciplinary thinking. Printmaking has always been a means of combining modern technology and methods with existing traditional and commercial imaging processes. Technological advancement in print however does not always provide a finer quality of print. Qualities often attributed to pre-digital continuous tone printing can be lost in the transition to a digital half tone print workflow. This research project examines a near obsolete 19th century print process, the continuous tone Woodburytype, developed to address the issue of permanence in photography. Through a methodological approach analyses of the Woodburytype an empirical reconstruction of the process provides a comprehensive critique of its method. The Woodburytype’s surface qualities are not found in other photomechanical printing methods capable of rendering finely detailed photographic images. Its method of image translation results in the printed tonal range being directly proportional to the deposition thickness of the printing ink, however it never successfully developed into a colour process. By examining and evaluating digital imaging technology this study identifies, current computer aided design and manufacturing techniques and extends upon known models of Woodburytype printing through the development of this deposition height quality enabling a new digital polychromatic colour printing process.
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Books on the topic "Digital artworks"

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Digital art: A complete guide to making your own computer artworks. Mankato, Minnesota: Arcturus Publishing, 2014.

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Sebastiano, Battiato, and Gallo Giovanni 1962-, eds. Digital imaging for cultural heritage preservation: Analysis, restoration, and reconstruction of ancient artworks. Boca Raton: CRC Press, 2011.

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From grain to pixel: The archival life of film in transition. Amsterdam: Amsterdam University Press, 2009.

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Photoshop: Inspiring artwork and tutorials by established and emerging artists. [Berkeley, Calif.]: Peachpit Press, 2013.

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Tobin, Paul. White cloud worlds: An anthology of science fiction and fantasy artwork from Aotearoa New Zealand. Auckland, N.Z: HarperCollins, 2010.

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Tobin, Paul. White cloud worlds: An anthology of science fiction and fantasy artwork from Aotearoa New Zealand. Auckland, N.Z: HarperCollins, 2010.

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Gallo, Giovanni, Filippo Stanco, and Sebastiano Battiato. Digital Imaging for Cultural Heritage Preservation: Analysis, Restoration, and Reconstruction of Ancient Artworks. Taylor & Francis Group, 2017.

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Gallo, Giovanni, Filippo Stanco, and Sebastiano Battiato. Digital Imaging for Cultural Heritage Preservation: Analysis, Restoration, and Reconstruction of Ancient Artworks. Taylor & Francis Group, 2017.

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Digital Art Techniques For Illustrators Artists The Essential Guide To Creating Digital Illustration And Artworks Using Photoshop Illustrator And Other Software. A&C; Black, 2012.

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The Digital Art Technique Manual For Illustrators Artists The Essential Guide To Creating Digital Illustration And Artworks Using Photoshop Illustrator And Other Software. Barron's Educational Series, 2012.

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Book chapters on the topic "Digital artworks"

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Machin, Colin. "Realizing Digital Artworks." In Springer Series on Cultural Computing, 141–47. London: Springer London, 2018. http://dx.doi.org/10.1007/978-1-4471-7367-0_13.

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Machin, Colin. "Realizing Digital Artworks." In Explorations in Art and Technology, 145–52. London: Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0197-0_14.

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Vincent, Jordan Beth, Caitlin Vincent, Kim Vincs, Scott deLahunta, and John McCormick. "Artworks-Spawning-Artworks: Trans-Disciplinary Approaches to Artistic Spin-Offs and Evolution in the Dance and Digital Context." In Digital Echoes, 283–99. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73817-8_15.

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Nardelli, Enrico. "A Classification Framework for Interactive Digital Artworks." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 91–100. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-35145-7_12.

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Moraitou, Efthymia, and Evangelia Kavakli. "Knowledge Management Using Ontology on the Domain of Artworks Conservation." In Digital Cultural Heritage, 50–62. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75826-8_5.

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Jain, Nitisha, and Ralf Krestel. "Who is Mona L.? Identifying Mentions of Artworks in Historical Archives." In Digital Libraries for Open Knowledge, 115–22. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-30760-8_10.

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Klein, Kristin. "Post-digital, Post-internet: Propositions for Art Education in the Context of Digital Cultures." In Post-Digital, Post-Internet Art and Education, 27–44. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73770-2_2.

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AbstractConcepts such as Post-Digital and Post-Internet act as symptomatic descriptors of digitally permeated cultures. Starting from a broad understanding of digitality in its societal and cultural-historical interdependencies, both terms are first introduced and afterward extended through the discussion of four theses, with a particular emphasis on aesthetic aspects. Elaborating on (1) distributed artworks, (2) hybrid subjects, (3) fluid materiality, and (4) blind spots, each thesis leads to a proposition for art education dealing with digital cultures. The chapter concludes by highlighting art education’s potential in reflecting on digital cultures and in developing new models and methods for practical application.
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Cohen, Nathan. "Video Ergo Sum: An Artist’s Thoughts On Inventing With Computer Technology In The Creation Of Artworks." In Digital Da Vinci, 99–111. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4939-0965-0_5.

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Di Iorio, Angela, and Marco Schaerf. "Applicability of Digital Library Descriptive Metadata to the Contemporary Artworks." In Lecture Notes in Computer Science, 78–89. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-40050-6_8.

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Becattini, Federico, Andrea Ferracani, Lea Landucci, Daniele Pezzatini, Tiberio Uricchio, and Alberto Del Bimbo. "Imaging Novecento. A Mobile App for Automatic Recognition of Artworks and Transfer of Artistic Styles." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 781–91. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-48496-9_62.

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Conference papers on the topic "Digital artworks"

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Clark, Sean. "Connected Digital Artworks." In Proceedings of the 30th International BCS Human Computer Interaction Conference. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/hci2016.57.

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Clark, Sean. "Connected Digital Artworks." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.58.

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Fontana, Raffaella, Maria Chiara Gambino, Marinella Greco, Enrico Pampaloni, Luca Pezzati, and Roberto Scopigno. "High-resolution 3D digital models of artworks." In Optical Metrology, edited by Renzo Salimbeni. SPIE, 2003. http://dx.doi.org/10.1117/12.501248.

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Mousheimish, Raef, Yehia Taher, Karine Zeitouni, and Michel Dubus. "PACT-ART: Adaptive and context-aware processes for the transportation of artworks." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7419520.

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Siotto, Eliana, Gianpaolo Palma, Marco Potenziani, and Roberto Scopigno. "Digital study and web-based documentation of the colour and gilding on ancient marble artworks." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413877.

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Hsieh, Min-Chai, and Hao-Chiang Koong Lin. "Employing augmented reality to create digital artworks to present interactive poem." In 2010 International Computer Symposium (ICS 2010). IEEE, 2010. http://dx.doi.org/10.1109/compsym.2010.5685492.

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Bettio, Fabio, Enrico Gobbetti, Emilio Merella, and Ruggero Pintus. "Improving the digitization of shape and color of 3D artworks in a cluttered environment." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6743709.

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Angeloni, Ilaria, Federica Bisio, Alessandro De Gloria, Daniele Mori, Carlotta Capurro, and Lauro Magnani. "A Virtual Museum for Flemish artworks. A digital reconstruction of Genoese collections." In 2012 18th International Conference on Virtual Systems and Multimedia (VSMM). IEEE, 2012. http://dx.doi.org/10.1109/vsmm.2012.6365989.

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Arena, Giovanni, Massimo Rippa, Pasquale Mormile, Mariangela Grilli, Melania Paturzo, Giancarlo Fatigati, and Pietro Ferraro. "Concurrent studies on artworks by digital speckle pattern interferometry and thermographic analysis." In SPIE OPTO, edited by Hans I. Bjelkhagen and V. Michael Bove. SPIE, 2016. http://dx.doi.org/10.1117/12.2211379.

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Andrade, Beatriz T., Olga R. P. Bellon, Luciano Silva, and Alexandre Vrubel. "Enhancing color texture quality of 3D models for digital preservation of indigenous ceramic artworks." In 2009 IEEE 12th International Conference on Computer Vision Workshops, ICCV Workshops. IEEE, 2009. http://dx.doi.org/10.1109/iccvw.2009.5457597.

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