Journal articles: 'Electronic Media Art'

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Kushiyama, Kumiko. "Media Art Corridor." Journal of The Institute of Image Information and Television Engineers 65, no. 9 (2011): 1312–16. http://dx.doi.org/10.3169/itej.65.1312.

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Saper, Craig. "Electronic Media Studies: From Video Art to Artificial Invention." SubStance 20, no. 3 (1991): 114. http://dx.doi.org/10.2307/3685183.

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Xilin, You. "Information, Communication and Art." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 233–49. http://dx.doi.org/10.1515/yewph-2018-0017.

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AbstractFrom Karl Marx to Martin Heidegger, the dialectical relationship between technology and art has become an ontological question of social reality. Marshall McLuhan’s theory of cool-hot media provides an analytical framework for the information age. “Cool-hot media” is McLuhan’s truly original concept. However, while McLuhan determined electronic media to embrace printing media which was regarded as a typical representative of hot media, he could not foresee that electronic media is properly speaking the latest representative of the split type of hot media. Through Gödel’s Incompleteness Theorems which underlies formalization and Embodied Cognition Theory, this article argues that there exists an ontological difference between computers and human existence and explores the position of art from the contemporary cool media perspective. This contribution is not only intended to be a philosophical critique of the philosophy of technology of the media age, but also a repositioning of contemporary art and its function from the media perspective. The technological division and abstraction represented in hot media becomes the basic premise for a holistic approach to computer science and artificial intelligence. Their rich information context leads to multiple interpretations of meaning instead of a one-dimensional definition; the everyday actions of cold media have become a type of life art in a broad sense, and manifest their social function as an art of the information age, i.e. to balance the cognitive narrative of hot media and to ensure that its communication does not suppress the audience’s individual creativity, so that they can maintain their subjectivity by tracing the source of information. Art facilitates active audience participation and so allows participants to overcome a one dimensional way of thinking and promotes imagination and creativity in liberal arts education. Following the rules of art, cold media obtains its greatest significance as the guardian of the free subjectivity of all humans, which is alien to modern technology. Cold media and hot media balance each other to create a new way of producing and living that not only discovers but also safeguards the world.

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Kuwakubo, Ryota. "Media Art for Bootstrapping." Journal of The Institute of Image Information and Television Engineers 65, no. 1 (2011): 59–63. http://dx.doi.org/10.3169/itej.65.59.

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Syed Abu Bakar, Syed Alwi, Aznan Omar, Noor Enfendi Desa, Siti Humaini Said Ahmad @ Syed Ahmad, Rosmidahanim Razali, and Sharifah Nursahilah Syed Omar. "Perjalananku: Penggunaan Medium Elektronik (Cahaya) Dalam Karya Seni Arca." Idealogy Journal 6, no. 2 (September 1, 2021): 60–66. http://dx.doi.org/10.24191/idealogy.v6i2.300.

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This research represents time using electronic medium through sculpture. An electronic media (light) is one of new medium in Malaysian visual arts. The use of electronic (light) as a medium, does bloom up medias in Malaysian visual arts. The exploration of this new medium, was inspired by Dan Flavin. The research includes element of light and social sharing. This research method practiced the studio base based on Wallas’ theory. This research project would benefit the societies, at the same time it would contribute to a process of creating an art works. The combination between electronic (light) and conventional medium will diverse the use of medium in producing art works.

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Hertz, Garnet, and Jussi Parikka. "Zombie Media: Circuit Bending Media Archaeology into an Art Method." Leonardo 45, no. 5 (October 2012): 424–30. http://dx.doi.org/10.1162/leon_a_00438.

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This text is an investigation into media culture, temporalities of media objects and planned obsolescence in the midst of ecological crisis and electronic waste. The authors approach the topic under the umbrella of media archaeology and aim to extend this historiographically oriented field of media theory into a methodology for contemporary artistic practice. Hence, media archaeology becomes not only a method for excavation of repressed and forgotten media discourses, but extends itself into an artistic method close to Do-It-Yourself (DIY) culture, circuit bending, hardware hacking and other hacktivist exercises that are closely related to the political economy of information technology. The concept of dead media is discussed as “zombie media”—dead media revitalized, brought back to use, reworked.

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DeLuca, Carolyn. "The Hazen Center for Electronic Information Resources." Art Libraries Journal 23, no. 4 (1998): 26–28. http://dx.doi.org/10.1017/s0307472200011263.

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The Hazen Center is a state-of-the-art electronic resource center situated within the Watson Library at the Metropolitan Museum of Art in New York. It provides access to art historical research and other scholarly resources available via electronic media such as CD-ROMs and the Internet, and also serves as a teaching center for their use. The Center is used by the Museum’s staff, the academic community, and by visiting art researchers.

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Lichty, Patrick. "The Cybernetics of Performance and New Media Art." Leonardo 33, no. 5 (October 2000): 351–54. http://dx.doi.org/10.1162/002409400552810.

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The emergence of many new media art genres calls into question qualitative issues in regards to performance in virtual and electronic spaces. What constitutes performance in technological art, and how can we form a critique of new media performance by analyzing these aesthetic spaces? This essay forms an analysis of technological performance, and of the “performative” in new media through the use of cybernetics as a critical tool.

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Povall, Richard. "Sociological, Artistic, and Pedagogical Frameworks for Electronic Art." Computer Music Journal 21, no. 1 (1997): 18. http://dx.doi.org/10.2307/3681211.

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Reynaldo Thompson and Tirtha Mukhopadhyay. "Art on the Divide Line: Experiments in Art and Technology in India and Latin America." DAT Journal 7, no. 1 (March 23, 2022): 89–101. http://dx.doi.org/10.29147/datjournal.v7i1.574.

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In this paper, we discuss the causes of regional variations in electronic art. Mapping regional achievements in electronic art requires understanding of resources of education and advancement of engineering in locations of economically productive cultures. If we think of development of algorithm as the driving cause of innovations in electronic media art we shall find that more regional niches are not lagging far behind – at least not in alternative market locations like India, or even China, although results are not so encouraging in Africa and the Eurasian countries.

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Wosk, Julie, and Margot Lovejoy. "Postmodern Currents: Art and Artists in the Age of Electronic Media." Technology and Culture 32, no. 1 (January 1991): 138. http://dx.doi.org/10.2307/3106022.

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Lovejoy, Margot. "Postmodern Currents: Art and Artists in the Age of Electronic Media." Journal of Aesthetics and Art Criticism 49, no. 2 (1991): 185. http://dx.doi.org/10.2307/431718.

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Walton, S. "Digital Baroque: New Media Art and Cinematic Folds (Electronic Mediations Series)." Screen 52, no. 1 (March 1, 2011): 140–43. http://dx.doi.org/10.1093/screen/hjq060.

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Osaka, Takuro. "Experiment of Space Art and Media." Journal of The Institute of Image Information and Television Engineers 65, no. 11 (2011): 1565–70. http://dx.doi.org/10.3169/itej.65.1565.

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Ziadi, Lotfi. "The Saudi Opinion on the Media Dealings with the COVID-19 Pandemic." Humanities and Management Sciences - Scientific Journal of King Faisal University 22 (2021): 1–9. http://dx.doi.org/10.37575/h/art/210025.

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Our research sought to monitor, measure and analyze the opinions and positions of Saudi men and women regarding the use of traditional and electronic media and social networking sites during the COVID-19 pandemic. We surveyed 477 Saudi men and women via an electronic questionnaire. The results show that Saudi respondents have increased their exposure to traditional media and that their use of social media has been intensified due to the pandemic. It was found that Saudis use social media to search for news and information that would help them understand the nature of the pandemic, how it spread, and what must be done to avoid, prevent, and respond to it. It was also found that social networking sites are the first sources used by Saudis to obtain news, although they consider these sites more likely to spread rumors about the pandemic. In general, most of the respondents consider the media coverage of the pandemic successful and think that most forms of news media are honest and reassuring.

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Molner, Ernest. "Second International Symposium on Electronic Art (SISEA), Groningen, Holland." Computer Music Journal 15, no. 3 (1991): 108. http://dx.doi.org/10.2307/3680772.

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HARASHIMA, HIROSHI. "The engineering which fuses sensitivity and art expression. 4. Media, art and technology." Journal of the Institute of Electrical Engineers of Japan 116, no. 1 (1996): 16–19. http://dx.doi.org/10.1541/ieejjournal.116.16.

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Kong, Qing, and Hyung-gi Kim. "Research on the Concept of Time in Kinetic Shadow Media Art." Arts Studies and Criticism 3, no. 3 (July 7, 2022): 220. http://dx.doi.org/10.32629/asc.v3i3.922.

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McLuhan declared: "In the electronic age, everywhere is the center, everywhere is the edge",[1] which shows the huge impact of media on human social life. In the world constructed by media, people perceive time through media and give time meaning. Time is "alienated"; it is no longer the original external natural time, but a media time, a manifestation of the inner form of human beings. This paper takes the concept of time in moving image media art as the research object, and adopts the method of literature analysis and case analysis as the research method. Taking the influence of various art genres on the formation and development of dynamic shadow media art from the beginning of the 20th century to the present, it is found that the formation of dynamic shadow media art is influenced by Bergson's philosophy and dynamic media technology. Therefore, the author analyzes the works of individual artists and concludes that the time concept of dynamic shadow media art is a diversified, virtual and perceptual time concept.

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Lee, Su Jin. "Study on New Media Art for Cellular Phone Electronic Magnetic Fields Effects." KOREA SCIENCE & ART FORUM 17 (September 30, 2014): 319. http://dx.doi.org/10.17548/ksaf.2014.09.17.319.

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Malina, Roger F., and Margot Lovejoy. "Postmodern Currents: Art and the Artists in the Age of Electronic Media." Leonardo 24, no. 2 (1991): 247. http://dx.doi.org/10.2307/1575324.

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Anderson, Peter. "Tim Gruchy: Electronic media art, popular culture and the experimental avant‐garde." Continuum 8, no. 1 (January 1994): 22–33. http://dx.doi.org/10.1080/10304319409365623.

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Kane, Carolyn L. "The synthetic color sense of Pipilotti Rist, or, Deleuzian color theory for electronic media art." Visual Communication 10, no. 4 (October 14, 2011): 475–97. http://dx.doi.org/10.1177/1470357211415774.

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Electronic artist Pipilotti Rist’s colorful and sensuous video installations enliven the new media landscape and offer a fresh paradigm for conceptualizing color in electronic media art. This article traverses this landscape in Rist’s work by way of Gilles Deleuze’s equally unique and idiosyncratic color theory. While Deleuze articulated his color theory in terms specific to painting, his theory was nonetheless structured out of analogies to inorganic, electronic, and synthetic, machine systems, and thus it is highly compatible for discussions of color in electronic aesthetics. This article explicates Deleuze’s argument that color is a form of haptic sensation that is not nostalgic, nor purely meaningless, but rather offers fresh affects, erotics, and sensorial possibilities that balance meaning and chaos, and affect and logic. The article concludes that the much-needed continuation of color philosophy within new media art is broached through Rist’s synthetic, yet lively artwork.

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Dell'Aria, Annie. "From Vertical Roll to .MOV File." Afterimage 47, no. 3 (September 1, 2020): 22–42. http://dx.doi.org/10.1525/aft.2020.473004.

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In this article, I examine artworks from two periods in the history of media art—the 1970s and the 2010s—to demonstrate how changes in our haptic relationship to screen media shift the site of criticality in contemporary media art from disruption of electronic feedback toward an intensification and embrace of image flows that actively seek the viewer's touch and gesture. I situate video art within the shifting concept of flow in everyday media consumption, reading video art practices within a larger matrix of bodily and cultural engagement with screens. I locate touch and gesture as both themes in the content of single-channel works and components of the structure of video installation. Artists discussed include Camille Henrot, Joan Jonas, Rafael Lozano-Hemmer, Bruce Nauman, and Hito Steyerl. My analysis bridges media theory and art history with close readings of salient works of art, connecting the structure of artworks employing haptic input to shifts in the broader media ecology and the dynamic interplay of touch, image, and power under our fingertips.

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Kołodziej, Anastazja. "Odpowiedzialność usługodawcy za udostępnianie w internetowych serwisach społecznościowych treści przestępnych związanych z publicznym propagowaniem faszystowskiego lub innego totalitarnego ustroju państwa według projektu ustawy o ochronie wolności słowa w." Studia nad Autorytaryzmem i Totalitaryzmem 43, no. 4 (December 31, 2021): 503–12. http://dx.doi.org/10.19195/2300-7249.43.4.38.

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Having in mind the Law on the Provision of Electronic Services, the article presents selected issues in the field of strict liability of the service provider in the form of administrative penalties for publishing on social media criminal content or content that is related to it, in the form of praising or exhorting to commit the crime prohibited under Art. 256 of the Penal Code according to the Draft of the Law on the Protection of Freedom of Speech on Social Media. It presents selected issues concerning inaccuracies and imprecise definitions of the notions of service provider, user, and illegal content, especially in the context of content that does not exhaust the features of a prohibited act under Art. 256 of the Penal Code. It describes also the procedure to be followed in the event of the user’s complaint about blocking their content, profile or a complaint about disseminating illegal content. The author concludes that the assessment of illegal content that does not exhaust the features of a crime under Art. 256 of the Penal Code, but is related to it, in the form of praising or exhorting to commit it, will belong to the Freedom of Speech Committee. Additionally, the regulations of the Law on the Provision of Electronic Services and the Draft of the Law on the Protection of Freedom of Speech on Social Media are inconsistent because, on one hand, after the so-called flagging of the content on social media, the service provider is obliged to remove illegal content (Art. 14 of the Law on the Provision of Electronic Services), while, on the other hand, according to the commented draft of the law, he is exposed to proceedings before the Freedom of Speech Committee and its arbitrary classification of content as legal or illegal.

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Kypke, Reinhard. "Nicolas Collins: Handmade Electronic Music: The Art of Hardware Hacking." Computer Music Journal 31, no. 1 (March 2007): 96–99. http://dx.doi.org/10.1162/comj.2007.31.1.96.

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Kubota, Akihiro. "Five Methods to Reinvent the Media Art." Journal of The Institute of Image Information and Television Engineers 65, no. 10 (2011): 1392–94. http://dx.doi.org/10.3169/itej.65.1392.

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Zheng, Yingming. "The use of deep learning algorithm and digital media art in all-media intelligent electronic music system." PLOS ONE 15, no. 10 (October 19, 2020): e0240492. http://dx.doi.org/10.1371/journal.pone.0240492.

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Mao, Tong, and Xunxun Jiang. "The Use of Digital Media Art Using UI and Visual Sensing Image Technology." Journal of Sensors 2021 (November 12, 2021): 1–11. http://dx.doi.org/10.1155/2021/9280945.

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Visual sensing image technology has narrowed the distance between people and art with the rapid development of digital media, but new art forms continue to appear. Therefore, this exploration is aimed at studying the application of visual image technology based on user interface (UI) and virtual reality (VR) technology in art. This exploration is to explore the development path of digital media art. The concept of UI is briefly discussed. Based on the current means of visual sensing technology, UI, visual sensing image technology, and digital media art are successfully combined after the close relationship between digital media and art is realized. The results show that VR technology, which combines UI and visual sensing technology, has good compatibility with digital media art and can further shorten the distance between digital media art and the public. Moreover, the promotion of this application can greatly increase users’ experience of VR. In addition, most people hold a more positive attitude towards this combination. It reveals that it is essential to apply UI and visual sensing image technology to digital media art.

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Dyson, Frances. "Wireless Affections: Embodiment and Emotions in New Media/Theory and Art." Convergence: The International Journal of Research into New Media Technologies 11, no. 4 (November 2005): 85–105. http://dx.doi.org/10.1177//1354856505061056.

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A central strategy in selling information technology has involved the appropriation of earlier historical notions of the ether: as an immersive environment, communicative medium and electronic presence. Just as telephony was connected to the ‘wireless ether’, virtual reality and cyberspace have been connected to the idea of a virtual, electronic sphere, represented as an informatic space, through which a mode of (digital) being is conducted. However, as this paper will argue, while the data trails generated through ‘dataveillance’ technologies, or the information collected by wearable computers, may indeed situate the individual within a digitally rendered ‘ether’, these technologies are based on the generation of knowledge more than the creation of a space, installing an epistemological, rather than an ontological framework for understanding telepresent agency. With reference to recent works by Canadian artist Catherine Richards, this paper will discuss both research into new ‘reality mining’ and ‘affective computing’ technologies and the discourse of posthumanism, as it elaborates the transformation from autonomous liberal subject to post-human hybrid currently underway, and the developing relationships between humans and embodied, emotionally intelligent machines.

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Cox, Carole. "Electronic Media: New Films on the Art of Film, Filmmaking, and Video Production." English Journal 76, no. 3 (March 1987): 106. http://dx.doi.org/10.2307/818565.

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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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Westbrook, J. H., J. G. Kaufman, and F. Cverna. "Electronic Access to Factual Materials Information: The State of the Art." MRS Bulletin 20, no. 8 (August 1995): 40–48. http://dx.doi.org/10.1557/s0883769400045097.

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Over the past 30 years we have seen a strong but uncoordinated effort to both increase the availability of numeric materials-property data in electronic media and to make the resultant mass of data more readily accessible and searchable for the end-user engineer. The end user is best able to formulate the question and to judge the utility of the answer for numeric property data inquiries, in contrast to textual or bibliographic data for which information specialists can expeditiously carry out searches.Despite the best efforts of several major programs, there remains a shortfall with respect to comprehensiveness and a gap between the goal of easy access to all the world's numeric databases and what can presently be achieved. The task has proven thornier and therefore much more costly than anyone envisioned, and computer access to data for materials scientists and engineers is still inadequate compared, for example, to the situation for molecular biologists or astronomers. However, progress has been made. More than 100 materials databases are listed and categorized by Wawrousek et al. that address several types of applications including: fundamental research, materials selection, component design, process control, materials identification and equivalency, expert systems, and education. Standardization is improving and access has been made more easy.In the discussion that follows, we will examine several characteristics of available information and delivery systems to assess their impact on the successes and limitations of the available products. The discussion will include the types and uses of the data, issues around data reliability and quality, the various formats in which data need to be accessed, and the various media available for delivery. Then we will focus on the state of the art by giving examples of the three major media through which broad electronic access to numeric properties has emerged: on-line systems, workstations, and disks, both floppy and CD-ROM. We will also cite some resources of where to look for numeric property data.

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Mazzone, Marian. "Andy Warhol: Computational Thinking, Computational Process." Leonardo 53, no. 2 (April 2020): 179–82. http://dx.doi.org/10.1162/leon_a_01574.

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This article positions Andy Warhol as a model for computational thinking and art-making, linking him to concepts in new media art. Warhol's work is analyzed for its variability in form generation and output, both in painting and on the early Amiga computer. His work becomes a simulation of the abstraction of process and methods of production familiar to us in electronic computational art of today. Rather than seen as banal mass production on the modern assembly line, Warhol's work can be seen as inspiration for new media arts practitioners.

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Search, Patricia. "Electronic Art and the Law: Intellectual Property Rights in Cyberspace." Leonardo 32, no. 3 (June 1999): 191–95. http://dx.doi.org/10.1162/002409499553226.

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The dematerialization of art that began in the 1960s has reached new heights with the use of electronic media. We are at an important crossroads in defining intellectual property rights that will have a direct impact on the way we create and disseminate electronic art in the future. This paper examines the historical evolution of the definition of “author” in copyright law. The paper shows how current copyright legislation and recent court decisions do not address the plasticity of the medium and the new forms of authorship that are defined by the artistic use of techniques such as virtual reality, artificial intelligence, hypermedia links and collaborative networking.

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Broeckmann, Andreas. "Media Faktura. On some Technical Conditions of Image-Making in Art." Artifact 4, no. 1 (October 4, 2017): 7. http://dx.doi.org/10.14434/artifact.v4i1.13125.

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The text contributes to the discussion about the ontological status of the "image" by offering an analysis of the technical and material conditions of image-making. Departing from a close reading of French artist Julien Maire's installation "Memory Cone" (2009), the paper discusses four distinct types of technical conditions which determine mediated images: physiological, physical, electronic, and algorithmic. It references art historical examples to argue that such technical conditions have always been fundamental to images, and suggests the interdependency between these medial layers.

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Yoon, Yeyoung. "Writing in Liberal Art class and Media Literacy." Research of the Korean Classic 59 (November 30, 2022): 119–51. http://dx.doi.org/10.20516/classic.2022.59.119.

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This paper examins the reality of whether the literacy of the current liberal arts classroom is in a state where narrative and classical literature can be read or rewritten using it. To this end, various communication beyond traditional meanings such as text, oral, video, and digital, and the system in which these communication are combined are viewed as media in a broad sense, and these rules of media writing are defined as literacy. As a result of examining students’ literacy and media literacy in detail through the examples of liberal arts classes at each university, substitution (metaphor), which is the main axis of language, is suppressed in each university, and the principle of contiguity(metonymy) preceding substitution in Chinese literature classes is suppressed. In the SNS space mainly used by them, excessive metaphors and broken metonymy were seen, simplifying complex situations into abstract problems or reducing them to peripheral problems by fragmenting only a part of the whole. As such, the classroom is a place where various media coexist, imitate each other, negotiate, and collide. Existing analog literacy alone cannot describe the media literacy of classroom, and instructors cannot stay with analog literacy only. The instructor’s literacy should not be limited to transfer, interpretation, enlightenment, or prescription. We should think of learners as tribes and foreign language speakers, exchange new literacy with them, and translate, create, and produce. Clear information delivery and the pursuit of computable language, on the contrary, the phenomenon of failure to reach language and fragmentation of language is a new linguistic disease in an automated society. The practicality of liberal arts, education, and humanities lies in the ‘surplus’ of non-practical language, not practical language, and language, not clear and transparent. It is necessary to invent meta-language that connects instructors, students, and mouths, and restore the poetic function of language.

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Dorin, Alan. "Generative processes and the electronic arts." Organised Sound 6, no. 1 (April 2001): 47–53. http://dx.doi.org/10.1017/s1355771801001078.

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This paper gives a personal perspective on the application and relevance of generative processes to art production. This view is that of a computer programmer, rather than that of a user of computer programs written (or hardware constructed) by others. The programmer is in the unique position of being able to describe and manipulate abstract processes which may be used as a unique means of artistic expression. This gives a greater amount of freedom to the programmer/artist than is the case when he or she is limited by programmed procedures defined by others.Prior to the development of a formal means of specifying visual and aural events, a concrete machine or set of rules for their manipulation and a means of bringing these representations back into the world as physical events, abstract processes were things to be contemplated but not experienced. Musical and spatial notations employed by artists, engineers and others, in concert with the programming of computing hardware, have opened the way for those who wish to manipulate processes in their artistic practice.In order to focus study and practice in the area of such generative computer art, the Center for Electronic Media Art (CEMA) has been established in Melbourne, Australia. The Center has spawned an international conference series on generative/process-based electronic art called Iteration. The perceived roles of the Center and Iteration conferences are discussed in this paper.

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Xi, Mengying. "Reconstruction of New Media Art Ecology Based on Intelligent Technology Environment." Wireless Communications and Mobile Computing 2022 (July 23, 2022): 1–6. http://dx.doi.org/10.1155/2022/8084536.

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With the rapid development of modern multimedia technology and Internet technology, the traditional media in people’s daily life, including newspapers, magazines, radio, and television, are far less timely and extensive than the new media that use the Internet to spread, such as today’s headlines, microblog, TikTok, and NetEase News. In the process of its own development, Internet new media has gradually derived new media art, which is different from traditional art forms, with the mixture of sound, light, and electricity as the form of expression and the Internet as the media. The wide spread of new media art depends very much on the development of the Internet. In the early stage, the audience of new media is not wide, such as Tianya Forum and Sina blog. It is only for information exchange and communication with people who use the computer Internet. At the same time, the content shared is limited to words and pictures. When the computer Internet began to popularize and the mobile network terminal began to develop, new media art immediately sprouted. Starting from instant messaging, Tencent QQ integrates the strengths of all kinds of new media and promotes the further development of new media art. Standing at the juncture of 2022, after more than ten years of continuous innovation and development, the expression terminal has come from the computer to the mobile phone we use every day. The media has quickly entered the 5 g network from 2G and 3G networks, and the communication path and time have been quite flexible. In addition, AI (artificial intelligence) and other intelligent technologies have begun to enter people’s daily life. The combination of intelligent technology and new media art has brought new media art into another period of transformation and sublimation. This paper will discuss that in the current environment where intelligent technology has begun to be popularized in people’s daily life, new media art achieves the result of ecological reconstruction by innovating and deepening its own characteristics in combination with intelligent technology.

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Harris, Craig, and Greg Garvey. "Two Reports on the Fourth International Symposium on Electronic Art (ISEA '93)." Computer Music Journal 18, no. 3 (1994): 68. http://dx.doi.org/10.2307/3681188.

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Liu, Yulong, Shan Wu, Qi Xu, and Hubin Liu. "Holographic Projection Technology in the Field of Digital Media Art." Wireless Communications and Mobile Computing 2021 (May 18, 2021): 1–12. http://dx.doi.org/10.1155/2021/9997037.

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The advent of the digital age has given new forms and new connotations to artistic creation, and more and more digital media technologies have entered the stage of artistic creation and exhibitions. At present, holographic projection technology has become a hot application technology in the field of digital media art. The purpose of this paper is to explore the technical principles of holographic projection technology and its application in the field of digital media art, so as to provide suggestions for the application and promotion of holographic projection technology and the development and innovation of digital media art. First of all, this article understands the technical principles of holographic projection and its application status in various fields, especially in the field of digital media art, through relevant literature research. Then, this article introduces the digital holographic technology, virtual imaging technology, and computer simulation technology used in the realization of holographic projection technology. Then, based on the advantages of holographic projection technology in three-dimensional image recording and reproduction, this paper proposes to introduce holographic projection technology to digital art museums, digital art exhibitions, and other digital media art applications and to study the effect of holographic projection technology on art through simulation experiments, the effect of recording and reproducing the image of the work. Finally, the three-dimensional reconstruction image of the digital holographic projection experiment on the artwork is compared with the simulated image of the Contour GT profiler to verify the feasibility of applying the holographic projection technology to art exhibitions and the effect of three-dimensional image recording and reproduction. Research shows that the holographic projection technology can achieve 93.34% of the simulation effect of recording and reproducing 3D images of artworks. It is also found that 59.86% of the audience who pay attention to the art experience strongly support the application of holographic projection technology in digital media art fields such as digital art gallery. This fully proves the feasibility of applying holographic projection technology to digital art exhibitions and provides a full range of artistic experience for audiences who cannot be present.

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Reimann, Daniela. "Shaping Interactive Media with the Sewing Machine." International Journal of Art, Culture and Design Technologies 1, no. 1 (January 2011): 12–21. http://dx.doi.org/10.4018/ijacdt.2011010102.

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In the context of converging media technologies, the concept of mobile media embedded in wearable material was introduced. Wearable Computing, Fashionable Technology, and Smart Textile are being developed at the intersection of media, art, design, computer science, and engineering. However, in Germany, little research has been undertaken into Smart Textile in education1. Those activities are not realized at school in the context of artistic processes in general MINT2 education in classroom settings. In order to research the interplay of electronic textiles and wearable technology, hard and software tools, such as Arduino LilyPad, a programmable board designed for stitching into clothing and flexible applications are scrutinized. In the project, contemporary media art projects in the field of Fashionable Technology are explored to inspire interdisciplinary technology education. The project described in this paper engages girls in technology and engineering by integrating artistic processes as well as a more playcentric approach to technology and engineering education.

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Haydock, Nickolas. "Neomedievalism in the Media: Essays on Film, Television, and Electronic Games ed. by Carol L. Robinson, Pamela Clements (review)." Arthuriana 23, no. 2 (2013): 77–80. http://dx.doi.org/10.1353/art.2013.0012.

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Lee, Duksoon. "Symbolic Model of New Media Art Expression Based on Artificial Intelligence Big Data." Wireless Communications and Mobile Computing 2022 (September 7, 2022): 1–10. http://dx.doi.org/10.1155/2022/9630255.

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With the rapid development of China’s economy and the continuous optimization and improvement of Internet information technology, a new thing, new media, has emerged. On this basis, a kind of artistic behavior of creating, carrying, spreading, and appreciating is also called new media art. New media art has developed for a long time in foreign countries, but its development and popularization are relatively late in China, and it is still in a stage of improvement. As far as visual communication design is concerned, the emergence and development of new media have strongly promoted the development of its work and the dissemination of various works. Developing visual communication design based on new media art has become a key issue for all visual communication designers. Nowadays, deep learning is widely used in different fields in different ways, and image art representation is a hot research field in computer vision. Therefore, this paper mainly studies and analyzes the symbolism of new media art expression forms and proposes a new media art symbolism model based on artificial intelligence big data. In order to provide a method of real-time representation of art images, the deep learning method is used to model the artistic expression of images, and spatial reorganization of content features and style features is carried out. This paper designs simulation experiments to verify the effectiveness of the model, which can provide some help for the development and improvement of new media art in China. We compared the results of our model with a number of other models to test its effectiveness. We achieved a matching accuracy of 98.4% which is higher than or equal to the results of the existing models.

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Oladejo, Babatunde, and Sunčica Hadžidedić. "Electronic records management – a state of the art review." Records Management Journal 31, no. 1 (February 8, 2021): 74–88. http://dx.doi.org/10.1108/rmj-09-2019-0059.

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Purpose This paper aims to examine the state of the art in electronic records management (ERM) with the goal of identifying the prevailing research topics, gaps and issues in the field. Design/methodology/approach First, a wide search was performed on academic research databases, limited to the period between 2008–2018. Second, the search results were reviewed for relevance and duplicates. Finally, the study sources were checked against the list of journals and conferences ranked by computing research and education and JourQual. The final sample of 55 selected studies was analyzed in depth. Findings ERM has lost some research momentum due to being deeply embedded in affiliate information systems areas and the changing records management landscape. Additionally, the requirement models specified by Governmental/National Archives might have constrained technology innovation in ERM. A lack of application was identified for the social media research area. Research limitations/implications Limitations were encountered in available search tool functionality and keyword confusion leading to inflated search results. While effort has been made to obtain optimal search results, some relevant articles may have been omitted. Originality/value The last ERM state-of-the-art review was in 1997. A lot has changed since then. This paper will help researchers understand the current state of ERM research, its understudied areas and identify gaps for future studies.

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Gao, Nan, and Liya Fu. "Study on the Fusion of Oil Painting Art and Digital Media Based on a Visual Sensor." Journal of Sensors 2022 (January 20, 2022): 1–10. http://dx.doi.org/10.1155/2022/5481448.

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Digital media art is a new type of art with rich sensory experience. Nowadays, digitization is flooding many areas of life. Under the sprint of a large amount of information, human beings have once again entered the digital age. This article is aimed at studying the fusion of oil painting art and digital media based on visual sensors, analyzing the application of digital imaging art using sensor technology in various fields, especially in the field of oil painting art, and analyzing the effects of digital media with the support of sensor technology. The artistic characteristics and rich forms of presentation are presented, and then, the key points of digital media design are summarized. This paper proposes to bring advanced sensor technology into the field of art for research, turning boring and difficult technical data into an interesting art form, making human-computer interaction more compact and humane, and creating better works of art, so that more and more people and different fields can enjoy the scientific and technological achievements. The sensor is a kind of bionics in modern science, which enables machinery to perceive the human environment like human or animal sensory organs, through the perception and detection of this environmental change, and writing a certain program, the signal data is converted into electricity or signal, and at the same time transmit these signals to receiving organs or devices, such as device sensors that simulate organs. The art of digital photography requires the intervention of sensor technology to make interaction and virtue more complete. The sensor technology also requires the art of digital photography to provide an external display window, which can better serve mankind and create greater social value. The combination of technology and art makes the presentation of art more distinctive. The experimental results of this paper show that the integration of oil painting art and digital media based on visual sensors has made digital media have an impact on more than 58% of oil painting art works and made many oil painting art works show an unprecedented sense of science and technology, which is important for future oil painting art. The development of the company has positive significance.

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Piene, Otto, and Robert Russett. "Sky, Scale and Technology in Art." Leonardo 41, no. 5 (October 2008): 510–18. http://dx.doi.org/10.1162/leon.2008.41.5.510.

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Otto Piene discusses his projects with new media as well as the history and tradition of techological art. Topics range from archaic megalithic structures to large-scale, outdoor contemporary works articulated and enhanced by electronic forms of expression. Piene discusses his concept of ‘sky art’ and examines his attempts to expand the physical proportions of art and to communicate publicly with a large audience. Other issues raised include the beneficial effects of integrating art and science, the need to reevaluate and update art education and the importance of developing new forms of technological art that will improve communication and more effectively express human concerns.

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Zhao, Bozuo, Rui Kong, and Wei Miao. "Information Security of New Media Art Platform of Distributed System Based on Blockchain Technology." Mobile Information Systems 2021 (July 21, 2021): 1–8. http://dx.doi.org/10.1155/2021/6607130.

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New media art is different from ready-made art, installation art, body art, and land art. New media art is a new art subject category with “optical” media and electronic media as the basic language. And, because of the continuous development of computer networks, distributed database management systems are becoming more and more popular. This article aims to study the information security control problem in the distributed new media system. Through comprehensive access control, reliable support, and many-to-many random mutual encryption, it solves the security requirements of supporting mobile computing in a distributed network environment, communication, and hierarchical grouping. Group key management and other issues have studied some key security technologies for building secure distributed information systems. This article proposes covering the behavior-based access control model ABAC (operation-based access control model), the architecture of the new Trusted Platform Module, the architecture of multithreaded crypto chips, and their service methods, as well as distributed information systems and key management solutions. Approximately obeying the chi-square distribution with 2 degrees of freedom, when the significance level is taken as 5%, the chi-square value for the skin is 5.99. Different initial values are selected for the chaotic sequence, 200 groups of chaotic sequences with a length of 2000 are selected for sequence inspection, and the pass rate is 97.5%. It can be seen that the autocorrelation and cross-correlation characteristics of the improved spatiotemporal chaotic sequence are still relatively ideal, so the usability of the platform is relatively high.

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Jati, Rocky Prasetyo. "THE EXISTENCE OF INDONESIAN LOCAL ART CULTURE THROUGH DIGITAL BASED COMMUNITY MEDIA." ICCD 2, no. 1 (November 26, 2019): 489–93. http://dx.doi.org/10.33068/iccd.vol2.iss1.193.

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The development of information and communication technology has brought a change in social life. That phenomenon also has an impact on the changes in the management strategies of the existing community media. The visible development of information and communication technology is also the development of the use of digital technology. Human innovation is currently focusing on electronic media which has been developed in the current digital age. The digital age is an era that leads humans to move from the use of analog technology in digital technology which is currently also rapidly growing with the convergence of Internet. During this period, conventional media or the traditional media acts as mass media delivered electronically. Local culture that has certain characteristics can be a product that has additional high value when it is adjusted to media development. Some efforts can be made to make community media as a mean to market local culture throughout the world. Those efforts can be made by incorporating local culture into the content of digital-based community media. Those efforts have been practiced by the Paguyuban Kridho Laras Karawitan and Paguyuban Karawitan Renggo Budoyo in Klaten. They used Internet technology with Facebook and YouTube as the platform.

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Fadly Sabran, Mohamad. "Video Art as a Propaganda Medium of the Socio-Politics." International Journal of Creative Multimedia 1, no. 1 (May 18, 2020): 25–31. http://dx.doi.org/10.33093/ijcm.2020.1.1.4.

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Television is a popular medium that is used as a propaganda tool in spreading ideologies. As such, the continuous propagation of ideologies through television fiddles with the sentiment of the public over time. This is obvious through various media campaigns that was broadcasted through television during the 14th general election of Malaysia in 2018. These media campaigns propagate the idea of ‘change’ by presenting audio-visual information that instigates a euphoric reaction. ‘Beauty (fool) of destruction’ is an experimental video art prompted by such propagation and its effect on society.This essay discusses the creation of the video work and its adaptation of the Malay proverb ‘Indah Khabar dari Rupa’ as a reaction to the political campaigns of the 14th general election. Specifically, it examines video as an avenue for responding towards the wield of ideology on electronic media and as a medium of expression for new forms of art making

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Eto, Kouichirou. "Media Art, Which Enables Us to Change the World." Journal of The Institute of Image Information and Television Engineers 64, no. 9 (2010): 1353–57. http://dx.doi.org/10.3169/itej.64.1353.

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Journal articles on the topic 'Electronic Media Art'

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