Journal articles: '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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Nardelli, Enrico. "A Viewpoint on the Computing-Art Dialogue: The Classification of Interactive Digital Artworks." Leonardo 47, no. 1 (February 2014): 43–49. http://dx.doi.org/10.1162/leon_a_00700.

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The author provides a viewpoint on the dialogue between computing and art by describing a framework for classification of Interactive Digital Artworks: information technology systems in which spectators are involved in the production of the artistic output. The author bases his approach on the input-process-output view of information systems and relates it to the “Computing as a Science” viewpoint. The framework is validated by classifying 33 interactive digital artworks presented at various international exhibitions.

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Botticelli, Peter. "Preserving Artworks Digitally: The Case of Andy Warhol’s Polaroid Photographs." Preservation, Digital Technology & Culture 44, no. 3 (October 1, 2015): 123–34. http://dx.doi.org/10.1515/pdtc-2015-0017.

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AbstractAs museum objects are digitized, curators will need to examine closely the potential for digital objects to represent, and possibly distort, the authentic information contained in material objects. This work examines the complex preservation issues facing Polaroid photographs by Andy Warhol, as a case example of a distributed collection of relatively fragile, non-reproducible photographs which have recently been digitized, but with uncertain consequences for how audiences might experience the Polaroids in digital form. With the potential for digital objects to outlast the Polaroids, this work highlights the need for rich documentation to ensure that digital representations might be able to serve as a practicable preservation medium for material objects.

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Adams, Patricia. "Mediating Corporeality: Re-Interpretations at the Art/Science Interface." Somatechnics 2, no. 2 (September 2012): 284–304. http://dx.doi.org/10.3366/soma.2012.0062.

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Contemporary scientific discoveries are rapidly modifying established concepts of embodiment and corporeality. For example, developing techniques in adult stem cell research can actively remodel the human body; whilst neuroscientists are shedding increasing light on the functioning of our brains. My research at the art/science nexus draws upon recent media theories to investigate the ways twenty-first century constructs of ‘humanness’ and the ‘self’ are affected by both historical and contemporary scientific research and developments in digital imaging technologies. In this article, examples from my artworks: “machina carnis” and “HOST” illustrate how my use of innovative digital technologies and collaborative methodologies has enabled me to immerse myself in the scientific experience at first hand. I demonstrate how my reinterpretations of what is commonly termed ‘hard’ scientific research data does not seek to emulate ‘objective’ readings of the experimental digital image data but rather recontextualises it in the context of my artworks. These artworks acknowledge the personal and visceral content in the scientific data and enable viewer/participants to reflect upon the issues raised from an emotive and individual perspective.

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Shaw, Debora, and Jennifer Wagelie. "Studying artworks and their digital copies: Valuing the artist’s aura." International Journal of Education Through Art 12, no. 1 (March 1, 2016): 57–69. http://dx.doi.org/10.1386/eta.12.1.57_1.

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Vandsø, A. "Listening to Listening Machines: On Contemporary Sonic Media Critique." Leonardo Music Journal 26 (December 2016): 48–52. http://dx.doi.org/10.1162/lmj_a_00971.

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“The tape recorder … creates above all new conditions of observations,” Pierre Schaeffer writes. This article picks up the theme of the link between listening and technology and asks how contemporary sound artworks reflect the relation between technology and perception. It suggests that many contemporary sound artworks explore the way digital culture conditions our listening acts. Based on a tentative analysis including works by Mihara et al., Zorio, Ikeda and Skjødt, the article argues that art lets us experience not only sound but also technological mediation, providing insight into how in the current digital culture we are constantly sharing our perception of the environment with nonhuman listening machines.

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Cepeda, Rene G. "Rescuing new media art from technological obsolescence." DAT Journal 4, no. 3 (December 6, 2019): 37–46. http://dx.doi.org/10.29147/dat.v4i3.145.

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As time passes and digital technologies become obsolete, more and more new media artworks face the possibility of being lost forever. As many new media artworks depend on certain technologies, when these technologies are replaced with other or are not available any more, steps should be taken to make older artworks compatible with newer technologies that replace them. Using Jon Ippolito’s concepts of storage, emulation, migration and reinterpretation, this text attempts to provide a basic framework to understand each different concept and the advantages and disadvantages to their implementation. This is all done using Gilbertto Prado’s restoration of Desertesejo (2000/2014/2018) to illustrate the process.

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Milani, Federico, and Piero Fraternali. "A Dataset and a Convolutional Model for Iconography Classification in Paintings." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–18. http://dx.doi.org/10.1145/3458885.

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Iconography in art is the discipline that studies the visual content of artworks to determine their motifs and themes and to characterize the way these are represented. It is a subject of active research for a variety of purposes, including the interpretation of meaning, the investigation of the origin and diffusion in time and space of representations, and the study of influences across artists and artworks. With the proliferation of digital archives of art images, the possibility arises of applying Computer Vision techniques to the analysis of art images at an unprecedented scale, which may support iconography research and education. In this article, we introduce a novel paintings dataset for iconography classification and present the quantitative and qualitative results of applying a Convolutional Neural Network ( CNN ) classifier to the recognition of the iconography of artworks. The proposed classifier achieves good performances (71.17% Precision, 70.89% Recall, 70.25% F1-Score, and 72.73% Average Precision) in the task of identifying saints in Christian religious paintings, a task made difficult by the presence of classes with very similar visual features. Qualitative analysis of the results shows that the CNN focuses on the traditional iconic motifs that characterize the representation of each saint and exploits such hints to attain correct identification. The ultimate goal of our work is to enable the automatic extraction, decomposition, and comparison of iconography elements to support iconographic studies and automatic artwork annotation.

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Stricot, Morgane. "Retro-Engineering and Alternative Histories: Possible Roads toward Media Archaeological Reconstruction." Leonardo 50, no. 2 (April 2017): 192–93. http://dx.doi.org/10.1162/leon_a_01388.

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This article gives insight into research on media archaeological reconstruction of media and digital artworks. This experimental approach, illustrated by two practical cases, results in a duplication of the artworks within their original machines and languages. Based on retro-engineering, this approach is becoming a way to investigate the known, unknown and alternative stories by and for the machines, the goal being to produce archives, witnesses of the machines’ related history and inherent imaginary.

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Santoro, A., L. Barazzetti, and V. Pracchi. "REVEALING AN UNKNOWN MUSEUM AND ITS COLLECTION USING DIGITAL TOOLS: THE PALAZZO DI GIUSTIZIA IN MILAN." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 669–76. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-669-2021.

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Abstract. The paper presents the generation of an interactive cataloging system for the Courthouse of Milan (Palazzo di Giustizia) and more than one hundred artworks stored in the building. The courthouse is an “unknown museum” in the city and represents a masterpiece of the architectural and figurative culture in the '30s. The online system developed in the project aims at solving a twofold task. First, it must present the "unknown museum" to citizens through a simple and effective online website. Second, it must serve as a repository for technical information not available to the public and only limited to the specialists in conservation. This second section includes catalog forms produced according to specific national standards for artworks, which require a variety of information such as size, material, artist, state of conservation, and description of previous restorations and interventions. The catalog, supported by the development of a preventive conservation plan, meets the need to identify all artworks and their conditions, planning interventions, and keeping a record of restoration activities.

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Cabezos-Bernal, Pedro M., Pablo Rodriguez-Navarro, and Teresa Gil-Piqueras. "Documenting Paintings with Gigapixel Photography." Journal of Imaging 7, no. 8 (August 21, 2021): 156. http://dx.doi.org/10.3390/jimaging7080156.

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Digital photographic capture of pictorial artworks with gigapixel resolution (around 1000 megapixels or greater) is a novel technique that is beginning to be used by some important international museums as a means of documentation, analysis, and dissemination of their masterpieces. This line of research is extremely interesting, not only for art curators and scholars but also for the general public. The results can be disseminated through online virtual museum displays, offering a detailed interactive visualization. These virtual visualizations allow the viewer to delve into the artwork in such a way that it is possible to zoom in and observe those details, which would be negligible to the naked eye in a real visit. Therefore, this kind of virtual visualization using gigapixel images has become an essential tool to enhance cultural heritage and to make it accessible to everyone. Since today’s professional digital cameras provide images of around 40 megapixels, obtaining gigapixel images requires some special capture and editing techniques. This article describes a series of photographic methodologies and equipment, developed by the team of researchers, that have been put into practice to achieve a very high level of detail and chromatic fidelity, in the documentation and dissemination of pictorial artworks. The result of this research work consisted in the gigapixel documentation of several masterpieces of the Museo de Bellas Artes of Valencia, one of the main art galleries in Spain. The results will be disseminated through the Internet, as will be shown with some examples.

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Semeraro, Giovanni, Pasquale Lops, Marco De Gemmis, Cataldo Musto, and Fedelucio Narducci. "A folksonomy-based recommender system for personalized access to digital artworks." Journal on Computing and Cultural Heritage 5, no. 3 (October 2012): 1–22. http://dx.doi.org/10.1145/2362402.2362405.

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Bejarano, Juan Pablo Pacheco. "Digital Hunters." A Peer-Reviewed Journal About 9, no. 1 (August 4, 2020): 42–52. http://dx.doi.org/10.7146/aprja.v9i1.121488.

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As the infrastructure of the internet continues to expand, networked computational surveillance becomes an essential practice of territorial and biopolitical control. The feedback loop between information technologies and global structures of power creates new territorial and biopolitical regimes that sanction the mobility of people and information across Earth. These new ‘techno-territories’ lead to the emergence of new agents of power, who weave virtual and material worlds together in order to exercise control over these new spaces and the bodies that flow through them. This article discusses the emergence of ‘digital hunters’ as both subjects and objects of power through a discursive analysis of AZ: move and get shot (2011-2014) and The Virtual Watchers (2016), two artworks by Joana Moll based on research into crowdsourced surveillance systems at the US/Mexico border. Through a discussion of these projects I trace the emergence of digital hunting as a new practice of territorial control through networked images, as citizens are militarized through participatory architectures of surveillance and social media.

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Woo, Tack, Kwangyun Wohn, and Nigel Johnson. "Categorisation of New Classes of Digital Interaction." Leonardo 44, no. 1 (February 2011): 90–91. http://dx.doi.org/10.1162/leon_a_00103.

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This article introduces a new concept, digital interactivity, through examining local digital culture; and video game culture is employed as a metaphor to interpret local digital culture. As a result, ‘control-’ and ‘communication’-based interaction are initiated, based on ‘user to media’ relationships. Based on the degree of physical interaction, ‘liminal’ and ‘transitive’ interactions are initiated. Less physical digital interaction is described as ‘liminal’ interaction and more physical digital interaction is described as ‘transitive’ interaction. These new classes of digital interaction can be applied to real-world examples, such as digital interactive installation artworks and video games.

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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.

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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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Youngs, Amy M. "The Fine Art of Creating Life." Leonardo 33, no. 5 (October 2000): 377–80. http://dx.doi.org/10.1162/002409400552865.

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The longstanding artistic tradition of creating lifelike artworks evolves as technology grows from paint and chisels to computers and DNA manipulation. Artists are now able to create digital works that engage in the processes of life and biological works that exist as art and actual life. The author examines the differing ways in which artificial life and biological artworks smear the boundaries between what is considered natural and unnatural, human and nature, and explores the role biological art might play in relocating humanity within the complex ecological systems of life, rather than above or below it.

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Cooper, Paul, and Andrew Smith. "Mediated place: The effect of digital functionality in selected site-specific artworks." de arte 51, no. 1 (January 2, 2016): 6–24. http://dx.doi.org/10.1080/00043389.2016.1176376.

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Luyten, Tom, Susy Braun, Susan Van Hooren, and Luc De Witte. "Participant responses to physical, open-ended interactive digital artworks: a systematic review." International Journal of Arts and Technology 10, no. 2 (2017): 94. http://dx.doi.org/10.1504/ijart.2017.084942.

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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.

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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.

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Kowsari, Masoud, and Mehrdad Garousi. "Fractal art and multi-blended spaces." Virtual Creativity 9, no. 1 (December 1, 2019): 23–41. http://dx.doi.org/10.1386/vcr_00003_1.

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Abstract Artworks, especially in the last two centuries, have been more created through a process of blending than at any other time. This blendedness is seen not only in many modern and postmodern works of art, from German expressionist woodcuts to Picasso's paintings and spontaneous action paintings of Pollock, but in fractal works of art perhaps more than anywhere else. This study, based on Fauconnier and Turner's blended space and conceptual blending theories, will show how fractal artworks are the result of a multi-blending process. This multi-blending is not only because fractal artworks have roots simultaneously in science, technology and art but also because their creation and understanding is dependent on knowledge of fractal aesthetics. Fractal aesthetics not only makes the artist have a continuous back and forth movement between mathematical, digital and artistic spaces, but simultaneously makes the visitor/audience have such an effort as well.1

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Sánchez-Jiménez, David, Fernando Buchón-Moragues, José M. Bravo, and Juan V. Sánchez-Pérez. "Estimation of the Precision of a Structured Light System in Oil Paintings on Canvas." Sensors 19, no. 22 (November 14, 2019): 4966. http://dx.doi.org/10.3390/s19224966.

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The conservation and authentication of pictorial artworks is considered an important part of the preservation of cultural heritage. The use of non-destructive testing allows the obtention of accurate information about the state of pictorial artworks without direct contact between the equipment used and the sample. In particular, the use of this kind of technology is recommended in obtaining three-dimensional surface digital models, as it provides high-resolution information that constitutes a kind of fingerprint of the samples. In the case of pictorial artworks with some kind of surface relief, one of the most useful technologies is structured light (SL). In this paper, the minimum difference in height that can be distinguished with this technology was estimated, establishing experimentally both the error committed in the measurement process and the precision in the use of this technology. This study focused on the case of oil paintings on canvas and developed a low-cost system to ensure its wide use.

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Wallenius, Milia Matilda. "On Digital Artworks and Their Distribution and Preservation Infrastructures / Über digitale Kunstwerke und ihre Verteilung und Bewahrungsinfrastrukturen." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 7, no. 1 (July 1, 2021): 25–42. http://dx.doi.org/10.14361/zkmm-2021-0102.

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Noll, A. Michael. "Early Digital Computer Art at Bell Telephone Laboratories, Incorporated." Leonardo 49, no. 1 (February 2016): 55–65. http://dx.doi.org/10.1162/leon_a_00830.

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This article is a history of the digital computer art and animation developed and created at Bell Telephone Laboratories, Incorporated, 1962–1968. Still and animated images in two dimensions and in stereographic pairs were created and used in investigations of aesthetic preferences, in film titles, in choreography, and in experimental artistic movies. Interactive digital computer music software was extended to the visual domain, including a real-time interactive system. Some of the artworks generated were exhibited publicly in various art venues. This article emphasizes work in digital programming. This pioneering work at Bell Labs was a significant contribution to digital art.

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Kelomees, Raivo. "Meta-reference in media arts and the interactive instantiation of non-digital artworks." Technoetic Arts 15, no. 3 (December 1, 2017): 353–72. http://dx.doi.org/10.1386/tear.15.3.353_1.

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Sommermeyer, Barbara, and Claartje van Haaften. "Examining the digital future of analogue slide-based artworks at the Hamburger Kunsthalle." Studies in Conservation 61, sup2 (June 2016): 219–26. http://dx.doi.org/10.1080/00393630.2016.1190908.

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Pryor, Sally. "Postcards and Supasigns: Extending Integrationist Theory Through the Creation of Interactive Digital Artworks." Human Technology: An Interdisciplinary Journal on Humans in ICT Environments 3, no. 1 (February 28, 2007): 54–67. http://dx.doi.org/10.17011/ht/urn.200770.

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Trinchão Andrade, Beatriz, Olga Regina Pereira Bellon, Luciano Silva, and Alexandre Vrubel. "Digital preservation of Brazilian indigenous artworks: Generating high quality textures for 3D models." Journal of Cultural Heritage 13, no. 1 (January 2012): 28–39. http://dx.doi.org/10.1016/j.culher.2011.05.002.

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Bellanova, Rocco, and Gloria González Fuster. "Composting and computing: On digital security compositions." European Journal of International Security 4, no. 3 (September 26, 2019): 345–65. http://dx.doi.org/10.1017/eis.2019.18.

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AbstractMaking sense of digital security practice requires grasping how data are put to use to compose the governing of individuals. Data need to be understood in their becoming, and in their becoming something across diverse practices. To do this, we suggest embracing two conceptual tropes that jointly articulate the being together of, and in, data compositions: composting and computing. With composting, we approach data as lively entities, and we explore the decaying and recycling processes inside Big Data security. With computing, we approach data as embodied and embodying elements, and we unpack the surveillance of ‘asylum speakers’. Together, composting and computing challenge recurrent images of data. Our conceptual composition takes sound as a necessary sensory counterpoint to popular data visions, notably in light of Ryoji Ikeda's artworks.

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Barker, Timothy. "Re-Composing the Digital Present." Contemporaneity: Historical Presence in Visual Culture 1 (June 1, 2011): 88–104. http://dx.doi.org/10.5195/contemp.2011.13.

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This paper investigates the temporality that is produced in some recent and historical examples of media art. In exploring works by Janet Cardiff, Dennis Del Favero, and Omer Fast, I use the philosophy of Michel Serres and Gilles Deleuze to understand the convergence of temporalities that are composed in the digital present, as one moment in time overlays another moment. Developing Serres' concept of multi-temporality and Deleuze's philosophy of time and memory into a means to understand the non-linear time presented in these works, I argue that the different compositional strategies enacted by these artists provide the aesthetic grounding to experience “temporal thickness.” From here I investigate the interactive digital artworks Frames by Grahame Weinbren and Can You See Me Now? by the artist group Blast Theory. In this investigation, I understand interaction with technology, and the way that it shapes our sensory and processual experience, as a specifically temporal and temporalizing transaction, where human movements in the present are overlayed by technological processes.

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van der Meulen, Sjoukje. "Going Digital? New Media and Digital Art at the Stedelijk." Arts 8, no. 3 (August 1, 2019): 97. http://dx.doi.org/10.3390/arts8030097.

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The Stedelijk Museum in Amsterdam, The Netherlands, has an extensive collection of time-based media art from the 1960s onwards, which has been expanded into the digital field in recent decades. The Stedelijk makes an interesting case study for this special issue on “Art Curation: Challenges in the Digital Age,” because it has had a reputable history of dealing with time-based art since the mid-1970s but presently faces the same challenges with regard to curating and collecting digital art as other museums of modern art. The Stedelijk’s history began in 1974, when the first curator for time-based art was hired, Dorine Mignot, a pioneer in this field. After Mignot’s retirement in 2006, the museum was closed for almost a decade, but under the leadership of Beatrix Ruf (2014–2017), an innovative agenda was set again for new media and digital art. In this paper, Sjoukje van der Meulen mobilizes the museum’s rich and varied history of new media and digital art to think through some of the issues, challenges and concerns raised by guest editor Francesca Franco for this special issue such as “What are the issues involved in re-contextualizing and exhibiting artworks made in the 1960s and the 1970s?” and “What are [adequate] curatorial approaches regarding digital art?”

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Hsieh, Yung-Cheng, and Ssu-Yu Cheng. "The New Taipei City Artist Map Project: The Compilation and Promotion of the Greater Danshui Artist Map." International Journal of Humanities and Arts Computing 7, supplement (March 2013): 201–15. http://dx.doi.org/10.3366/ijhac.2013.0070.

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‘The Compilation and Promotion of the Greater Danshui Artist Map’ is the first-stage plan from the ‘New Taipei City Artist Map Project’ by Culture Affairs Bureau of New Taipei C ity. The goal of this project, named ‘One Year, One Village’, is to conduct field survey, in-depth interviews, artwork digitisation and promotional events on artists and art villages within Ney Taipei City. Information from the research and its resulting digitised visual and audio contents will become the foundation for future development and production of arts emerging from the growing cultural originality in New Taipei C ity. In addition to utilizing the traditional ‘direct observation’ approaches to obtain first-hand information and establish contacts with local artists, the research also takes on a field survey approach to conduct verbal interviews and complete digital photographs of artists’ artworks. The combination of these methods had achieved a complete and accessible artist archive for the Greater Danshui. Using the surveyed results and digital content, the Greater Danshui artists map website, ( http://artist-map.ntpc.gov.tw/sd_/ ) was completed and a pamphlet for arts of Greater Danshui was published.

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Lee, Jin Woo, and Soo Hee Lee. "User participation and valuation in digital art platforms: the case of Saatchi Art." European Journal of Marketing 53, no. 6 (June 10, 2019): 1125–51. http://dx.doi.org/10.1108/ejm-12-2016-0788.

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PurposeThe purpose of this paper is to examine the impact of digital platforms on the contemporary visual art market. Drawing on the theoretical insights of the technology acceptance model, the meaning transfer model and arts marketing literature, the authors conceptualise the role of user participation in creating the meaning and value of contemporary artworks in the online art market.Design/methodology/approachThe authors conduct a qualitative study of Saatchi Art as an instrumental case for theorising. It is an online platform for trading visual artworks created by young and emerging artists. The data for this study were collected through direct observation and documentary reviews, as well as user comments and buyer reviews from Saatchi Art. The authors reviewed 319 buyer comments Art and 30 user comments. The collected data are supplemented with various secondary sources such as newspapers, magazines, social media texts and videos.FindingsThe growth of digital art platforms such as Saatchi Art provides efficiency and accessibility of information to users while helping them overcome the impediments of physical galleries such as geographical constraints and intimidating psychological environments, thereby attracting novice collectors. However, users’ involvement in the process of valuing artworks is limited and still guided by curatorial direction.Research limitations/implicationsThe first limitation of this research is that the data in this research cannot capture interactions between users, though users’ intention to use Saatchi Art is affected by the social influence of other users. Second, this research has not examined artists as users of digital art platforms and their interactions with other types of users. Artists’ intention to use the online platform might be underlined by enhancing their status in the peer group or seeking legitimacy in the field by following other artists and getting recommendations from important referents.Practical implicationsThe outcomes of this research suggest that newcomers in the online art market should acknowledge that users’ intention to use the online art platform is determined by not only technological usefulness of the website but also the symbolic capital of the information provider.Originality/valueUser participation in the online art market is guided by curatorial direction rather than social influence. This confirms re-intermediation of marketing relationships, highlighting the role of new intermediaries such as digital platforms in arts marketing.

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Gellman, Philippe. "Blockchain: The New Art House." ITNOW 63, no. 3 (August 16, 2021): 18–19. http://dx.doi.org/10.1093/itnow/bwab070.

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Abstract NFTs (Non-fungible tokens) have been thrust into the spotlight as companies, people and artists seek to monetise creations, from artworks to tweets. Philippe Gellman, co-founder and CEO of Arteïa, talks to Johanna Hamilton about his creation of ‘the first Digital Catalogue Raisonné supported by blockchain’ and how cutting-edge tech is changing the art world.

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Reyes, Everardo, and Lev Manovich. "Cultural Viz: An Aesthetic Approach to Cultural Analytics." Leonardo 53, no. 4 (July 2020): 408–14. http://dx.doi.org/10.1162/leon_a_01927.

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Cultural Analytics (C.A.) is an approach for analyzing media and digital culture using data methods and visual computing techniques. This article explores the aesthetic value of C.A. by approaching cultural visualizations as digital artworks. The authors present a variety of techniques developed since 2007 by members of the C.A. lab for creating visualizations of media artifacts and collections of images. Through a series of projects conducted by them, the authors discuss the artistic meaning of media visualizations and their experience in art exhibitions, workshops and seminars.

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Post, Colin. "Preservation practices of new media artists." Journal of Documentation 73, no. 4 (July 10, 2017): 716–32. http://dx.doi.org/10.1108/jd-09-2016-0116.

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Purpose The purpose of this paper is to investigate the preservation practices of new media artists, in particular those working outside of the scope of major collecting institutions, examining how these artists preserve new media artworks in their custody. Design/methodology/approach The paper builds case studies of seven new media artists of differing practices and artistic approaches. For each case study, semi-structured interviews with the artists were conducted in conjunction with visits to the artists’ studios. Findings The study finds that new media artists face a number of shared preservation challenges and employ a range of preservation strategies, and that these challenges and strategies differ markedly from that of art museums and cultural heritage institutions. Research limitations/implications This study considers preservation practices for new media artists generally. Further research into specific communities of artistic practice could profitably build upon this overall framework. Practical implications The findings of this research pose a number of implications for art museums and cultural heritage institutions, suggesting new ways these institutions might consider supporting the preservation of new media artworks before works enter into institutional custody. Originality/value The literature on new media art preservation emphasizes the importance of working with artists early in the life cycle of digital artworks. This study advances this by investigating preservation from the perspective of new media artists, deepening the understanding of challenges and potential preservation strategies for these artworks prior to entering or outside of institutional custody.

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Spagnolo, G. Schirripa, D. Ambrosini, and G. Guattari. "Electro-optic holography system and digital image processing forin situanalysis of microclimate variation on artworks." Journal of Optics 28, no. 3 (June 1997): 99–106. http://dx.doi.org/10.1088/0150-536x/28/3/002.

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Bailey-Ross, Claire, Andrew M. Beresford, Daniel T. Smith, and Claire Warwick. "Aesthetic appreciation and Spanish art: insights from eye-tracking." Digital Scholarship in the Humanities 34, Supplement_1 (July 31, 2019): i17—i35. http://dx.doi.org/10.1093/llc/fqz027.

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Abstract Eye-tracking—the process of capturing and measuring human eye movement—is becoming an increasingly prevalent tool in the cultural heritage sector to understand visual processing and audience behaviours. Yet, most applications to date have focused on individual artworks and distinctions between representative/non-representative topics, with little prior work on the effects of differing written interpretations on the visual exploration of collections of artworks, particularly with devotional themes. This article reports on an eye-tracking study that explored responses to the unique collection of Francisco de Zurbarán paintings in County Durham. Using eye-tracking technology in a laboratory setting, we evaluated the viewing behaviour of three participant groups to determine whether the accompanying written context influences how digital reproductions are experienced. In addition to demonstrating statistically significant variations in aesthetic appreciation, the experiments showed that the gaze can be redirected towards areas of conceptual significance. Most importantly, we were able to challenge the assumption that viewers always look at faces (Bindemann et al., 2005). Our findings make an important new contribution to the scholarly understanding of how audiences view, appreciate, and understand artworks and to museum and heritage practices relevant to the display of art.

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Santry, Arron. ""A Place Colled Lovely1)"." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 13, no. 1 (October 25, 2020): 22–27. http://dx.doi.org/10.31165/nk.2020.131.593.

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The digitisation and networked distribution of the PixelVision videos of Sadie Benning presents a challenge to aesthetico-protocological hegemonies that determine the value of digital videos. Subverting their status as ‘poor images’, the uploaded copies of Benning’s works restage their queer, counter-hegemonic resistance via the controls of a new digital context. This paper calls for a re-examination of traditional attitudes towards the digitisation of ‘analogue’ moving image artworks and proposes that compression standards and their artifacts may be recuperated as part of a queer feminist-materialist artistic strategy.

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

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

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Yoon, Joonsung, Kwanho Song, and Insub Kim. "Digital Mandala: The Post-Virtual as Meditation of Impermanence or a New Reality." Leonardo 46, no. 5 (October 2013): 496–97. http://dx.doi.org/10.1162/leon_a_00653.

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This paper proposes the post-virtual as the second phase of media art. The post-virtual is an entity in reality from the virtual, in which the output of media artworks follow the physical condition based on physical computing. Digital Mandala captures the viewer's face, processes the image, draws it in rough pixels made of black colored sand, and brushes it out soon. As an ephemeral repatriation of the virtual, the post-virtual is pronounced in the paper as a new reality in our technological scene

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Kim, Ji-Hoon. "Animating the Photographic Trace, Intersecting Phantoms with Phantasms: Contemporary Media Arts, Digital Moving Pictures, and the Documentary’s ‘Expanded Field’." Animation 6, no. 3 (September 21, 2011): 371–86. http://dx.doi.org/10.1177/1746847711417780.

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This article investigates the ways in which contemporary media artworks across various platforms provide a fresh look at the photographic inscription of reality by animating the still photograph with digitally produced movement. These artworks are based on what the author calls ‘digital moving pictures’, hybrid images in which photographic stillness and cinematic movement are interrelated in a single picture frame by the mediation of digital imaging systems. Examining the works of Jim Campbell, Ken Jacobs, David Claerbout, Julie Meltzer and David Thorne, the author argues that the pictures’ blurring of the boundaries between the live action and the animated images, and between the recorded and the manipulated, is meant to satisfy documentary epistephilia (a ‘desire to know’) and stimulate the viewer’s ‘pensive’ and ‘investigative’ engagements with the photographic trace as possible spectatorial modes of the documentary. The pictures then ask us to envision the documentary’s ‘expanded field’ (Rosalind Krauss), in which a series of binaries defining the modernist conception of the documentary are problematized, including prioritizing the photochemical qualities of analogue film and photography as directly guaranteeing evidential claims about their representations over the animated or graphically rendered image.

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Journal articles on the topic 'Digital artworks'

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