Relevant bibliographies by topics / Electronic artists

Academic literature on the topic 'Electronic artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Electronic artists"

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Mann, Jeff. "The Matrix Artists' Network: An Electronic Community." Leonardo 24, no. 2 (1991): 230. http://dx.doi.org/10.2307/1575308.

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Stam, Deirdre C. "Artists and art libraries." Art Libraries Journal 20, no. 2 (1995): 21–24. http://dx.doi.org/10.1017/s0307472200009329.

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Asked about how artists use libraries, art librarians confirm that artists gather ideas from a wide spectrum of subjects and sources, beyond the scope of the art library; they also need images and other, specific, information which art libraries often can supply. Their approach is typically exploratory and intuitive; they are compulsive browsers, but are likely to be impatient of catalogs and only occasional users of standard references tools. They expect a lot of help from specialist librarians. Art libraries serving artists generally provide access to a wide range of images, and invariably house their collections on open stacks. Photocopying, including color copying, is an essential service, and other visual and ‘studio’ facilities may also be provided. As more and more visual and other relevant information is made available through electronic networks, art libraries can provide artists with assisted, convenient access to it.
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Drucker, Johanna. "The Self-Conscious Codex: Artists' Books and Electronic Media." SubStance 26, no. 1 (1997): 93. http://dx.doi.org/10.2307/3684834.

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Villagomez-Oviedo, Cynthia P. "Communication and Messages in Mexican Electronic Art." Glimpse 22, no. 1 (2021): 124–27. http://dx.doi.org/10.5840/glimpse202122119.

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Artists try to communicate precise ideas or concepts about certain social or political problems in order to change their context and surroundings. In this research the focus is on examples of Mexican Electronic artworks which specifically generate stages of communication. The methods applied to study these artifacts were observation, interview and analysis of certain art works and then selectively comparing different artists and their artistic works to understand, with the help of an adequate qualitative research approach, as to how the art communicated with human viewers. We concluded that communication of an abstract image could lead to different meanings. Interpretation depends on the cultural context of the viewer, age and nationality, among other important factors. Nonetheless all Mexican electronic artists studied in this research have a positive message for society, including justice and the preservation of environment and several related inspiring ideas.
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Pawłowska, Aneta Joanna. "Visual text or "words-in-freedom" from Futurism through concrete poetry to electronic literature." Text and Image: Essential Problems in Art History, no. 1 (2019): 90–101. http://dx.doi.org/10.17721/2519-4801.2019.1.06.

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The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. A vivid interest concerning the modern typography in the period which took place immediately after the end of the First World War and during the interwar period of the Great Avant-Garde, was shown by various artists who were closely related to Dadaism and the Polish art group called „a.r”. Here a special mention is desrved by the pioneer accomplishments in the range of lettering craft and the so-called „functional printing” of the famous artist Władysław Strzemiński (1893-1952). The next essential moment in the development of the new approach to the synesthesia of the printed text and fine arts is the period of the 1960s of the 20th century and the period of „concrete poetry” (Eugen Gomringer, brothers Augusto and Haroldo de Campos from Brazil, Öyvind Fahlström). In Poland, the undisputed leader of this movement was the artist Stanisław Dróżdż (1939-2009), the originator of the so-called „conceptual-shapes”. In the 21st century, the emanation of actions which endevour to join and link closely poetry with visual arts is the electronic literature, referred to as digital or html. Artists associated with this formation, usually produce their works only by means of a laptop or personal computer and with the intention that the computer the main carrier / medium of their work. Among the creators of such works of art, it is possibile to mention such authors of the young generation as Robert Szczerbiowski, Radosław Nowakowski, Sławomir Shuty.
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Ippolito, Jean M. "Words, Images and Avatars: Explorations of Physical Place and Virtual Space by Japanese Electronic Media Artists." Leonardo 42, no. 5 (October 2009): 421–26. http://dx.doi.org/10.1162/leon.2009.42.5.421.

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While this article discusses the philosophical and even spiritual relevance of the cultural imprint of individual artists' work, especially for artists originating in a unique environment such as that of Japan, its main purpose is to address how artists capture the character of physical place, whether consciously or subconsciously, when producing creative work in a virtual environment, and how recent artists are exploring their desire to produce tangible objects from their virtual creations.
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Wi, Hyeongseok, and Wonjae Lee. "Stars inside have reached outside: The effects of electronic dance music DJs’ social standing and musical identity on track success." PLOS ONE 16, no. 8 (August 25, 2021): e0254618. http://dx.doi.org/10.1371/journal.pone.0254618.

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The social standing of an artist provides a reliable proxy for the value of the artist’s product and reduces uncertainty about the quality of the product. While there are several different types of social standing, we focus on reputation among professional artists within the same genre, as they are best able to identify the artistic value of a product within that genre. To reveal the underlying means of attaining high social standing within the professional group, we examined two quantifiable properties that are closely associated with social standing, musical identity and the social position of the artist. We analyzed the playlist data of electronic dance music DJ/producers, DJs who also compose their own music. We crawled 98,332 tracks from 3,164 playlists by 815 DJs, who played at nine notable international music festivals. Information from the DJs’ tracks, including genre, beats per minute, and musical keys, was used to quantify musical identity, and playlists were transformed into network data to measure social positions among the DJs. We found that DJs with a distinct genre identity as well as network positions combining brokerage and cohesion tend to place higher in success and social standing.
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Ippolito, Jean M. "Electronic Media Art from China: New Visions Bring Messages from the Distant Past." Leonardo 50, no. 2 (April 2017): 160–69. http://dx.doi.org/10.1162/leon_a_00922.

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This article introduces a number of contemporary artists in China who use digital technologies for art production. The author explores how these artists embed ancient philosophical values into an international mix of content in these new technological forms.
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Rolnick, Neil. "The iEAR Studios Startup: Curriculum and Values in Electronic Arts Education." Leonardo 52, no. 1 (February 2019): 81–86. http://dx.doi.org/10.1162/leon_a_01327.

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When the MFA in Integrated Electronic Arts at Rensselaer Polytechnic Institute (iEAR) enrolled its first class in 1991, it was, as far as the author is aware, the first graduate program in the United States to focus on the electronic arts as a unified interdisciplinary field. This article recounts the process used to design an academic curriculum to help students develop the skills and the breadth of artistic vision needed to pursue careers as artists using electronic media. The article also describes the climate and culture of the iEAR Studios in the 1990s and argues that the values embodied in the studio culture played a large part in fostering the creative and experimental use of electronic media and developing artists whose work disregards traditional disciplinary boundaries.
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Meigh-Andrews, Chris. "Peter Donebauer, Richard Monkhouse and the Development of the EMS Spectron and the Videokalos Image Processor." Leonardo 40, no. 5 (October 2007): 463–67. http://dx.doi.org/10.1162/leon.2007.40.5.463.

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The author details the development of two early color video synthesizers, the EMS Spectron and the Videokalos Image Processor, and examines their influence on video-based art. The Spectron, developed by Richard Monkhouse for Electronic Music Studios, influenced both its creator and various artists in the development of video-based art and images. Artist Peter Donebauer collaborated with Monkhouse to produce the Videokalos, leading to several artworks and a series of live performances.
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Dissertations / Theses on the topic "Electronic artists"

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Jacobs, Rachel. "The artists' footprint : investigating the distinct contributions of artists engaging the public with climate data." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/14450/.

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This thesis investigates the distinct contributions of artists who engage the public with climate data, exploring the role of the artists and the value of their contributions by focusing on two studies of artist-led projects. The first investigates how the author’s own artist led collective, Active Ingredient, engaged the public with climate data through a touring interactive artwork. The second study explores the design of an online platform for capturing, authoring and ‘performing’ climate data. This platform was developed and tested by Active Ingredient in collaboration with researchers from the University of Nottingham, and then used by other artists to engage with climate data. The studies reveal how the artistic projects were designed and experienced, through a mixed methods approach requiring the author to shift perspectives in order to investigate her own arts practice alongside the work of other artists in this field. The findings from these studies suggest that the artists adopt a distinctive voice that fosters an emotional engagement with climate data, rather than an informative or persuasive one, that goes beyond ‘environmental knowing’ towards human-scale, embodied, localized and personalized sense making. This research reveals how the artists use the key strategies of performing data, sensory experience and multiple interpretations to provoke these emotional responses. Highlighting the challenges and opportunities of engaging temporal structures and narratives to represent climate data; treating the data as a new material that is embedded into the artworks and embodied in various sensory forms; abstracting and juxtaposing multiple, contrasting and yet related datasets so as to invite comparisons, while opening up spaces between them for interpretation and dialogue. This results in a discussion of the role of technology within the artistic process, how the artists walk a line between authenticity and emotional engagement in their interpretations of climate data and the importance of an ongoing dialogic collaboration between the artists, researchers and climate scientist that support authentic and meaningful engagements with climate data. The research presents rich descriptions of the artists’ strategies for engaging the public with climate data and revealing that artists have a distinctive and powerful role to play in relation to climate change and sustainability; one that Human Computer Interaction (HCI) and Climate Science need to understand as they continue to move into this territory, and where HCI in particular might ultimately learn about how to bring an emotional treatment to many other forms of data.
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Maybury, Terrence, and n/a. "Internal+/-External Terrains: A Meditation On the Productive Skein of Electracy." Griffith University. School of Film, Media and Cultural Studies, 2002. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031009.112120.

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Internal+/-External Terrains is a meditation on the nature of electronic creativity, primarily from a production point of view. It seeks to arbitrate and synthesise a range of skills, attributes and ideas that might constitute the field of electronic aesthetics. It does this from the perspective of electronic artists, and the socio/economic/cultural system they increasingly serve. The aesthetics of electronic production, as looked at through the framework of electracy, serves as a model through which to locate some specific shifts in both self-making, and capitalism, in both their Post-Fordist, and globalising manifestations. Internal+/-External Terrains is a meditation on the re-conceptualisation going on in electronic meaning-making, as it is currently happening at the interfaces of the psyche, the politico-cultural domain, and in the techno-aesthetic apparatus of its production. Through the compilation of a possible program in electracy (of its various aesthetic components as used in production), along with a brief outline of the electronic artist, Internal+/-External Terrains situates both, as role-model and epicentre, of an increasingly accepted mode of abstraction: Radial-Logic©. And it is this omnidirectional form of abstraction currently lighting the cyber-cohering logic of an already arrived future.
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Hrnčíř, Petr. "Role marketingu v hudebním průmyslu se zaměřením na EDM a DJing." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-193347.

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This thesis examines the influence of marketing communication on music industry with focus on electronic dance music. In theoretical part are processed basic terms defining marketing communication. Consequently is described development of electronic dance music from seventies. The main objective of this thesis is define important marketing tools in allotted age group and confirm knowledge of this area of music industry. The practical part is focused on the research of popularity, target group determination and also evaluates interview with specialists and artists. Base on the research results from questionnaires and interview the thesis also proposes own marketing campaign of unknown artist.
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Bell, Donna Maryjean. "Fairy tale woman transformed, mythical artist re-born: Recontextualizing the female artist’s narrative in The song of the lark." Thesis, Wichita State University, 2008. http://hdl.handle.net/10057/1971.

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This essay considers Willa Cather’s use of fairy tale, musical, and mythological references within The Song of the Lark to rewrite cultural paradigms of patriarchal oppression and create a female-empowered narrative of an artist’s life. Through a complex network of allusions, Cather creates a successful künstlerroman by conveying the complicated realities of her female protagonist’s struggle to become an artist. Only by examining the full context of the novel’s allusions can we clearly understand the author’s characterization of her main character, Thea Kronberg.
Thesis (M.A.) - Wichita State University, College of Liberal Arts and Science, Dept. of English
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Bell, Donna Maryjean Griffith Jean. "Fairy tale woman transformed, mythical artist re-born : Recontextualizing the female artist's narrative in The song of the lark." A link to full text of this thesis in SOAR, 2008. http://hdl.handle.net/10057/1971.

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Bell, Donna Maryjean Griffith Jean. "Fairy tale woman transformed, mythical artist re-born: Recontextualizing the female artist⁰́₉s narrative in The song of the lark." A link to full text of this thesis in SOAR, 2008. http://hdl.handle.net/10057/1971.

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Norwood, Karen. "Propensity of West Virginia craftspeople to use electronic media for marketing their products." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2746.

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Thesis (Ed. D.)--West Virginia University, 2002.
Title from document title page. Document formatted into pages; contains vii, 165 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 118-124).
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Simon, Jodie Christine. "The derailment of feminism: a qualitative study of girl empowerment and the popular music artist." Thesis, Wichita State University, 2012. http://hdl.handle.net/10057/5541.

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“Girl Power!” is a message that parents raising young women in today’s media-saturated society should be able to turn to with a modicum of relief from the relentlessly harmful messages normally found within popular music. But what happens when we turn a critical eye toward the messages cloaked within this supposedly feminist missive? A close examination of popular music associated with girl empowerment reveals that many of the messages found within these lyrics are frighteningly just as damaging as the misogynistic, violent, and explicitly sexual ones found in the usual fare of top 100 Hits. In fact, this cooption of feminist messages introduces a new danger in that it masks the commodification of feminism into a marketed brand of heightened sexual awareness (Gill 2008) while promoting traditional male behaviors as equalizing acts of power (Kilbourne 2009 ).
Thesis (M.A.)--Wichita State University, Fairmount College of Liberal Arts and Sciences, Dept. of Liberal Studies
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de, Vries Rowen. "An EGSnrc Monte Carlo investigation of backscattered electrons from internal shielding in clinical electron beams." Thesis, University of Canterbury. Physics and Astronomy, 2014. http://hdl.handle.net/10092/9595.

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The ability to accurately predict dose from electron backscatter created by internal lead shielding utilized during various superficial electron beam treatments (EBT), such as lip carcinoma, is required to avoid the possibility of an overdose. Methods for predicting this dose include the use of empirical equations or physically measuring the electron backscatter factor (EBF) and upstream electron backscatter intensity (EBI). The EBF and upstream EBI are defined as the ratio of dose at, or upstream, from the shielding interface with and without the shielding present respectively. The accuracy of these equations for the local treatment machines was recognised as an area that required verification; in addition the ability of XiO's electron Monte Carlo (eMC) treatment planning algorithm to handle lead interfaces was examined. A Monte Carlo simulation using the EGSnrc package of a Siemens Artiste Linac was developed for 6, 9, 12, and 15 MeV electron energies and was verified against physical measurements to within an accuracy of 2 % and 2 mm. Electron backscatter dose distributions were predicated using the MC model, Gafchromic film, and XiO eMC, which when compared showed that XiO's eMC could not accurately calculate dose at the lead interface. Several MC simulations of lead interfaces at different depths, corresponding to energies of 0.2-14 MeV at the interfaces, were used to validate the accuracy of the equations, with the results concluding that the equation could not accurately predict EBF and EBI values, especially at low energies. From this data, an equation was derived to allow estimation of the EBF and upstream EBI, which agreed to within 1.3 % for the EBF values and can predict the upstream EBI to a clinically acceptable level for all energies.
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Cooke, Patricia K. "From the sublime to duende: a cross-cultural study on the aesthetics of artistic transcendence." Thesis, Wichita State University, 2008. http://hdl.handle.net/10057/2032.

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For centuries, artists have used their works as a means of communication. Such communication can, at times, connect artist and audience in a unique experience which defies barriers of both language and culture. Although artists have written about this experience--referred to here as “artistic transcendence” or “artistic transport”--since classical times, no word seemed able to encompass its meaning until Longinus used the word “sublime” to describe it. The concept has since undergone several reinterpretations, beginning with the additions by Joseph Addison in the eighteenth century, and continuing to the present day in which the word remains subjective and its uses diverse. Consequently, the notion of artistic transport now requires a new definition--one which embraces both the classical and eighteenth-century notions, yet also incorporates a contemporary understanding of the concept. This thesis submits that the Spanish word duende not only fulfills, but exceeds these requirements. Both the sublime and duende contain elements of a struggle between artist and art, an ability to elevate both artist and audience to a higher realm, and shared roots in the classical notion of artistic transport. Using primary texts from Gorgias’ “Encomium of Helen” to Lorca’s “Play and Theory of the Duende,” this thesis establishes a connection between the classical notion of artistic transport, the eighteenth-century understanding of the sublime, and the twentieth-century concept of duende. Furthermore, the analysis demonstrates how duende, which contains both historical and contemporary connotations, represents the modern sublime both in works of art as well as in the artistic process itself.
Thesis [M.A.] - Wichita State University, College of Liberal Arts and Science, Dept. of English
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Books on the topic "Electronic artists"

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Artists, artworks, and intellectual property in an electronic environment. Weimar: VDG, Verlag und Datenbank für Geisteswissenschaften, 2003.

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Lovejoy, Margot. Postmodern currents: Art and artists in the age of electronic media. Ann Arbor: UMI Research Press, 1989.

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Lovejoy, Margot. Postmodern currents: Art and artists in the age of electronic media. 2nd ed. Upper Saddle River, NJ: Prentice Hall, 1997.

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Lovejoy, Margot. Postmodern currents: Art and artists in the age of electronic media. Englewood Cliffs, N.J: Prentice Hall, 1992.

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Brilliant LED projects: 20 electronic designs for artists, hobbyists, and experimenters. New York: McGraw-Hill, 2012.

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Keane, Tina. Electronic shadows: The art of Tina Keane. London: Black Dog, 2004.

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Flor, Mike De la. Digital sculpting with Mudbox: Essential tools and techniques for artists. Burlington, MA: Focal Press, 2010.

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Bridgette, Mongeon, ed. Digital sculpting with Mudbox: Essential tools and techniques for artists. Burlington, MA: Focal Press, 2010.

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Livres animés du papier au numérique. Paris: Harmattan, 2010.

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Rise of the videogame zinesters: How freaks, normals, amateurs, artists, dreamers, drop-outs, queers, housewives, and people like you are taking back an art form. New York: Seven Stories Press, 2012.

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Book chapters on the topic "Electronic artists"

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Hayman, Alister. "Paul Smith — Artists Rifles." In Ars Electronica 98, 167–71. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/978-3-662-38430-5_23.

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Vidolin, Alvise. "Re-synthesis of analogue electronic music compositions by computer: a teaching experience." In De Diversis Artibus, 227–35. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.dda-eb.4.00614.

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Rudaz, N., R. D. Hersch, and V. Ostromoukhov. "An interface for the interactive design of artistic screens." In Electronic Publishing, Artistic Imaging, and Digital Typography, 1–10. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053258.

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Finkelstein, Adam, and Marisa Range. "Image mosaics." In Electronic Publishing, Artistic Imaging, and Digital Typography, 11–22. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053259.

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Browne, Cameron. "Font decoration by automatic mesh fitting." In Electronic Publishing, Artistic Imaging, and Digital Typography, 23–43. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053260.

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Hertz, Jacky, Changyuan Hu, Jakob Gonczarowski, and Roger D. Hersch. "A window-based method for automatic typographic parameter extraction." In Electronic Publishing, Artistic Imaging, and Digital Typography, 44–54. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053261.

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Kang, ByungHoon. "Unified table approach for typographic rendering." In Electronic Publishing, Artistic Imaging, and Digital Typography, 55–65. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053262.

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Gonczarowski, Jakob. "Producing the skeleton of a character." In Electronic Publishing, Artistic Imaging, and Digital Typography, 66–76. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053263.

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Stamm, Beat. "Visual truetype: A graphical method for authoring font intelligence." In Electronic Publishing, Artistic Imaging, and Digital Typography, 77–92. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053264.

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Shamir, Ariel, and Ari Rappoport. "Feature-based design of fonts using constraints." In Electronic Publishing, Artistic Imaging, and Digital Typography, 93–108. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053265.

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Conference papers on the topic "Electronic artists"

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Daly, Scott J. "Sampling of post-Riley visual artists surreptitiously probing perception." In Electronic Imaging 2003, edited by Bernice E. Rogowitz and Thrasyvoulos N. Pappas. SPIE, 2003. http://dx.doi.org/10.1117/12.479666.

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Stevens, Jane. "25th anniversary celebration of pioneering computer artists." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281541.

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Parraman, Carinna. "The development of artists' novel colour palettes for inkjet printing." In IS&T/SPIE Electronic Imaging, edited by Reiner Eschbach, Gabriel G. Marcu, Shoji Tominaga, and Alessandro Rizzi. SPIE, 2010. http://dx.doi.org/10.1117/12.838831.

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Morie, Jacquelyn Ford. "Female artists and the VR crucible: expanding the aesthetic vocabulary." In IS&T/SPIE Electronic Imaging, edited by Ian E. McDowall and Margaret Dolinsky. SPIE, 2012. http://dx.doi.org/10.1117/12.910974.

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Sporton, Gregory. "Creative identity theft: issues for artists in collaborative online environments." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.26.

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Dines, Naomi. "Precious, Tiny and Shiny: Close-range Photogrammetry for Artists and Others." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.30.

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Meyer, Eric T., and Isis Hjorth. "Connecting Performance Artists with Digital Audiences: A Case Study of Scratch Online." In Electronic Visualisation and the Arts (EVA 2012). BCS Learning & Development, 2012. http://dx.doi.org/10.14236/ewic/eva2012.34.

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Ruttkay, Zsofi, and Ton Mouthaan. "CreaTe: A New Programme to Attract Engineers as Design Artists." In 4th IEEE International Symposium on Electronic Design, Test and Applications (delta 2008). IEEE, 2008. http://dx.doi.org/10.1109/delta.2008.108.

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Sveshnikova, Taisiia Konstantinovna. "Электронные образовательные ресурсы в обучении цветоведению." In International Research-to-practice conference, Chair Iuliia Fedorovna Katkhanova. Publishing house Sreda, 2019. http://dx.doi.org/10.31483/r-32732.

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Abstract:
The article considers the issues of design and content of modern learning electronic educational resources, lists the advantages and negative factors regarding the use of these resources in the learning process. Achievements of the advantages and minimization of the negative effects of electronic resources in the modern educational space examines the discipline "Pedagogical design", offering the tools necessary to develop effective, attractive and understandable for students of digital educational materials. Color science "for future artists-teachers.
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Faggin, Marzia. "Artist meets computer." In Electronic Imaging '97, edited by Giordano B. Beretta and Reiner Eschbach. SPIE, 1997. http://dx.doi.org/10.1117/12.271594.

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