Artículos de revistas: "Electronic art"

1

Cordeiro, Waldemar. ""Arteonica": Electronic Art". Leonardo 30, n.º 1 (1997): 33. http://dx.doi.org/10.2307/1576373.

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2

Kac, Eduardo. "Electronic Art, Genetic Art: Symbiosis and Contamination". Circa, n.º 90 (1999): S02. http://dx.doi.org/10.2307/25563525.

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3

Tirohl, Blu. "@art electronic gallery http://gertrude.art.uiuc.edu/@art/gallery.html". Convergence: The International Journal of Research into New Media Technologies 1, n.º 1 (marzo de 1995): 133–34. http://dx.doi.org/10.1177/135485659500100114.

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4

Mariátegui, José-Carlos. "Peruvian Video/Electronic Art". Leonardo 35, n.º 4 (agosto de 2002): 355–63. http://dx.doi.org/10.1162/002409402760181114.

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SHANES, ERIC. "Window into Electronic Art". Art Book 1, n.º 1 (enero de 1994): 9–10. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00066.x.

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6

Wilson, Stephen y Frank Popper. "Art of the Electronic Age". Leonardo 28, n.º 1 (1995): 74. http://dx.doi.org/10.2307/1576165.

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7

Hoyer, Rüdiger. "Problems of electronic art reference". Art Libraries Journal 26, n.º 3 (2001): 24–26. http://dx.doi.org/10.1017/s0307472200012293.

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This paper evaluates the access provided to electronic reference material in art libraries in Germany and elsewhere. The extremely heterogenous state of education and knowledge concerning these materials is discussed, both from the point of view of library staff and that of the specialised public. Finally a proposal is formulated for a co-operative way of giving access to at least the metadata of these resources, and for their thematic indexing.

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8

Loeffler, Carl. "The Art Com Electronic Network". Leonardo 21, n.º 3 (1988): 320. http://dx.doi.org/10.2307/1578664.

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9

Reichardt, Jasia. "Art in an Electronic Age". Interdisciplinary Science Reviews 18, n.º 1 (marzo de 1993): 45–57. http://dx.doi.org/10.1179/isr.1993.18.1.45.

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10

Cass, S. "Electronic realism [art and technology]". IEEE Spectrum 38, n.º 3 (marzo de 2001): 68–73. http://dx.doi.org/10.1109/6.908875.

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Boudewyns, Deborah K. Ultan. "Scholarly Electronic Publishing in Art History: Nineteenth-Century Art Worldwide". Art Documentation: Journal of the Art Libraries Society of North America 29, n.º 2 (octubre de 2010): 21–25. http://dx.doi.org/10.1086/adx.29.2.27949548.

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12

Vickery, Lindsay. "The Western Edge: some recent electronic music from Western Australia". Organised Sound 6, n.º 1 (abril de 2001): 69–74. http://dx.doi.org/10.1017/s1355771801001108.

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A survey is presented of developments in recent Western Australian electronic music, focusing on the geographical influence on local composers' work. The article follows specific cases of practitioners in the fields of Sound Art (Alan Lamb and Hannah Clemen), Live Electronics (Cathie Travers and the electronic music quartet Magnetic Pig), Interactive Electronics (Jonathan Mustard and Lindsay Vickery) and Noise/Lo Fi Electronics (Cat Hope and Lux Mammoth).

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13

Broun, Elizabeth. "Art, Electronic Outreach and American Democracy". Leonardo 29, n.º 4 (1996): 317. http://dx.doi.org/10.2307/1576319.

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14

Ploeger, Daniël. "Abject Digital Performance: Engaging the Politics of Electronic Waste". Leonardo 50, n.º 2 (abril de 2017): 138–42. http://dx.doi.org/10.1162/leon_a_01159.

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Building on anthropologist Mary Douglas’s writing on the ritual function of dirt, this article presents a strategy in digital performance art that engages with electronic waste (e-waste). It is suggested that planned obsolescence in electronics is of a particular nature that facilitates the representation of consumer technologies within the logic of a “symbolic order of technological progress,” where digital devices act as mere signifiers for abstract notions of connectivity, well-being and innovation. Conceptualizing discarded electronic devices as abject technology that is positioned outside this symbolic structure, a performance practice is proposed where abject body parts and abject technologies are connected to challenge this techno-ideology.

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15

Pandey y Vora. "Open Electronics for Medical Devices: State-of-Art and Unique Advantages". Electronics 8, n.º 11 (1 de noviembre de 2019): 1256. http://dx.doi.org/10.3390/electronics8111256.

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A wide range of medical devices have significant electronic components. Compared to open-source medical software, open (and open-source) electronic hardware has been less published in peer-reviewed literature. In this review, we explore the developments, significance, and advantages of using open platform electronic hardware for medical devices. Open hardware electronics platforms offer not just shorter development times, reduced costs, and customization; they also offer a key potential advantage which current commercial medical devices lack—seamless data sharing for machine learning and artificial intelligence. We explore how various electronic platforms such as microcontrollers, single board computers, field programmable gate arrays, development boards, and integrated circuits have been used by researchers to design medical devices. Researchers interested in designing low cost, customizable, and innovative medical devices can find references to various easily available electronic components as well as design methodologies to integrate those components for a successful design.

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16

Hubbard, Guy. "Electronic Artstrands: Computer Delivery of Art Instruction". Art Education 48, n.º 2 (marzo de 1995): 44. http://dx.doi.org/10.2307/3193513.

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17

Kirby, John. "The George Fullard Electronic Art Book Project". Art Libraries Journal 21, n.º 1 (1996): 11–13. http://dx.doi.org/10.1017/s030747220000969x.

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Sheffield Hallam University possesses a large number of drawings by the sculptor George Fullard (1923-1973). Concern regarding the conservation of these drawings led to a discussion of how to provide access to them in the future. The result was an electronic book, available as a multimedia CD-ROM but which could also be made available on networks, and which can be approached from a variety of intellectual and interest levels.

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18

Liu, Fei, Bo Xiao, Eric T. K. Lim y Chee-Wee Tan. "The art of appeal in electronic commerce". Internet Research 27, n.º 4 (7 de agosto de 2017): 752–71. http://dx.doi.org/10.1108/intr-09-2016-0280.

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19

rasouli, atousa, zahra rahbarnia y mohammad attaran. "Measuring Electronic Learning Readiness of Art Students". Theory and Practice in Curriculum 3, n.º 5 (1 de junio de 2015): 79–110. http://dx.doi.org/10.18869/acadpub.cstp.3.5.79.

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20

Villagomez-Oviedo, Cynthia P. "Communication and Messages in Mexican Electronic Art". Glimpse 22, n.º 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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21

Kuznetsov, Andrew V. "Emergence in Interactive Embedded Art". International Journal of Art, Culture and Design Technologies 8, n.º 2 (julio de 2019): 1–19. http://dx.doi.org/10.4018/ijacdt.2019070101.

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This article is devoted to the problem of novelty in embedded art. Exciting possibilities of microelectronics for visual art are considered. Implementations of available microcontrollers, sensors and actuators are given. A new kind of interactions between spectators and artworks with embedded electronics was investigated. Special attention is paid to the effect of emergence, which is generated by this interaction. Computational artwork is being considered in a new unconventional context. An aesthetic difference between the deterministic and nondeterministic algorithms was shown. The combination of acrylic paintings with light-emitting diodes (LEDs) was systematically studied to give useful recommendations for an artistic community. Produced artifacts were demonstrated at exhibitions and were used to teach students at the university and VHS Freiburg, Germany. The results showed a great public interest in embedded electronic systems and a tremendous theoretical and practical perspective for the permanently developing contemporary art.

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22

DeLuca, Carolyn. "The Hazen Center for Electronic Information Resources". Art Libraries Journal 23, n.º 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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23

Reynaldo Thompson y Tirtha Mukhopadhyay. "Art on the Divide Line: Experiments in Art and Technology in India and Latin America". DAT Journal 7, n.º 1 (23 de marzo de 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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24

Kronik, Leeor y Norbert Koch. "Electronic Properties of Organic-Based Interfaces". MRS Bulletin 35, n.º 6 (junio de 2010): 417–21. http://dx.doi.org/10.1557/mrs2010.578.

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AbstractOrganic-based interfaces can possess a range of surprising electronic properties that are of intense interest from both the basic science and the applied research points of view. In this issue of MRS Bulletin, we provide state-of-the-art overviews of selected topics involving three complementary aspects of the electronic properties of organic-based interfaces: the nascent electronics technologies that would gain from improved understanding and control of such interfaces; the novel properties that organic-based interfaces may possess; and the experimental and theoretical challenges afforded by such studies.

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25

Claus, Jürgen y Jurgen Claus. "The Electronic Bauhaus: Gestalt Technologies and the Electronic Challenge to Visual Art". Leonardo. Supplemental Issue 1 (1988): 13. http://dx.doi.org/10.2307/1557903.

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26

Kim, Yonggeun y Joonsung Yoon. "A Grin without a Cat: The Faciality of Electronic Art". Leonardo 44, n.º 3 (junio de 2011): 288–89. http://dx.doi.org/10.1162/leon_a_00194.

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This paper looks at electronic art as a new form, suggesting the term ‘faciality’. It is not simply for re-staging the invisible using the visible, but for provoking a fresh view on the discussion of electronic art in terms of reconsidering ideas and concepts of art and technology.

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27

Spitz, Rejane. "Qualitative, Dialectical and Experiential Domains of Electronic Art". Leonardo 28, n.º 4 (1995): 319. http://dx.doi.org/10.2307/1576197.

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28

Povall, Richard. "Sociological, Artistic, and Pedagogical Frameworks for Electronic Art". Computer Music Journal 21, n.º 1 (1997): 18. http://dx.doi.org/10.2307/3681211.

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29

Linnik, Yuri V. y Bulat M. Galeyev. "Soviet Faust: Lev Termen, Pioneer of Electronic Art". Leonardo Music Journal 6 (1996): 70. http://dx.doi.org/10.2307/1513320.

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30

Gishen, Faye y Naomi Gostelow. "Electronic consultations: a new art in clinical communication?" BMJ Innovations 4, n.º 1 (enero de 2018): 1–4. http://dx.doi.org/10.1136/bmjinnov-2017-000218.

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31

Handy, Ellen. "Fixing the art of digital photography: Electronic shadows". History of Photography 22, n.º 1 (marzo de 1998): 7–13. http://dx.doi.org/10.1080/03087298.1998.10443911.

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32

Vicente, Carlos Fadon. "Evanescent Realities: Works and Ideas on Electronic Art". Leonardo 30, n.º 3 (1997): 195. http://dx.doi.org/10.2307/1576449.

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33

OPAIT, Gabriela. "Electronic Art concerning the Sony’s Performances in Businesses". Annals of Dunarea de Jos University of Galati. Fascicle I. Economics and Applied Informatics 27, n.º 1 (30 de abril de 2021): 123–35. http://dx.doi.org/10.35219/eai15840409175.

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34

Pan, Jianbiao, Jyhwen Wang y David M. Shaddock. "Lead-free Solder Joint Reliability – State of the Art and Perspectives". Journal of Microelectronics and Electronic Packaging 2, n.º 1 (1 de enero de 2005): 72–83. http://dx.doi.org/10.4071/1551-4897-2.1.72.

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There is an increasing demand for replacing tin-lead (Sn/Pb) solders with lead-free solders in the electronics industry due to health and environmental concerns. The European Union recently passed a law to ban the use of lead in electronic products. The ban will go into effect in July of 2006. The Japanese electronics industry has worked to eliminate lead from consumer electronic products for several years. Although currently there are no specific regulations banning lead in electronics devices in the United States, many companies and consortiums are working on lead-free solder initiatives including Intel, Motorola, Agilent Technologies, General Electric, Boeing, NEMI and many others to avoid a commercial disadvantage. The solder joints reliability not only depends on the solder joint alloys, but also on the component and PCB metallizations. Reflow profile also has significant impact on lead-free solder joint performance because it influences wetting and microstructure of the solder joint. A majority of researchers use temperature cycling for accelerated reliability testing since the solder joint failure mainly comes from thermal stress due to CTE mismatch. A solder joint failure could be caused by crack initiation and growth or by macroscopic solder facture. There are conflicting views of the reliability comparison between lead-free solders and tin-lead solders. This paper first reviews lead-free solder alloys, lead-free component lead finishes, and lead-free PCB surface finishes. The issue of tin whiskers is also discussed. Next, lead-free solder joint testing methods are presented; finite element modeling of lead-free solder joint reliability is reviewed; and experimental data comparing lead-free and tin-lead solder joint reliability are summarized. Finally the paper gives perspectives of transitions to totally lead-free manufacturing.

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35

Atkins, Christopher J., Adam Zielinski, Alice V. Klinkhoff, Andrew Chalmers, John Wade, Danny Williams, Michael Schulzer y Giovanni Della Cioppa. "An electronic method for measuring joint tenderness in rheumatoid arthritis". Arthritis & Rheumatism 35, n.º 4 (abril de 1992): 407–10. http://dx.doi.org/10.1002/art.1780350408.

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36

Lapin, Leonhard. "Objective Art". ARTMargins 2, n.º 2 (junio de 2013): 172–85. http://dx.doi.org/10.1162/artm_a_00053.

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Leonhard Lapin's “Objective Art” was written for “Event Harku '75. Objects, Concepts” – an exhibtion and an accompanying symposium on the premises of the Institute of Experimental Biology in Harku, near Tallinn, Estonia, in December 1975. Objective art, in the artist's mind, answered to the industrialization and urbanization of the late 20th century, to the growing significance of not only mechanical but also electronic machines in everyday life, and to the emergence of the so-called artificial environment. Rather than representing this environment, new art had to intervene in it or even produce it. Lapin's call was quite different from other reactions to the changing postindustrial environment in the mid 1970s in the Soviet Union in that instead of active intervention many of them proposed withdrawal as the most appropriate tactics to resist the grim surrounding reality.

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37

Nastali, Dan y Phil Boardman. "Searching for Arthur: Literary Highways, Electronic Byways, and Cultural Back Roads". Arthuriana 11, n.º 4 (2001): 108–22. http://dx.doi.org/10.1353/art.2001.0049.

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38

Dorin, Alan. "Generative processes and the electronic arts". Organised Sound 6, n.º 1 (abril de 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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39

Syed Abu Bakar, Syed Alwi, Aznan Omar, Noor Enfendi Desa, Siti Humaini Said Ahmad @ Syed Ahmad, Rosmidahanim Razali y Sharifah Nursahilah Syed Omar. "Perjalananku: Penggunaan Medium Elektronik (Cahaya) Dalam Karya Seni Arca". Idealogy Journal 6, n.º 2 (1 de septiembre de 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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40

Chromicka, Dorota. "ZNACZENIE NOWELIZACJI USTAWY O INFORMATYZACJI DLA POSTĘPOWANIA PRZED SĄDAMI ADMINISTRACYJNYMI". Zeszyty Prawnicze 9, n.º 2 (25 de junio de 2017): 213. http://dx.doi.org/10.21697/zp.2009.9.2.11.

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The Importance of the Projected Amendment of the Polish Act on Informatization to the Act on Administrative Court ProceedingsSummaryMost of the regulations of the polish Act on Informatization of public tasks performed by public organizations passed on 17 February 2005 came into force on 21 July 2005. After almost 4 years some institutions proved to be unsuccessful or did not work as intended. Also fast development of new technologies required amendment of the Act.On 17th June 2009 Governmental project on amendment of the Act on Informatization of pubic tasks performed by public organizations, Administrative Proceedings Code, Tax Ordinance Act and some other acts was sent to Sejm Marshall.Administrative Proceedings Code unlike the Act on Administrative Court Proceedings accepts electronic documents that are electronically signed. Pursuant to Art. 5 section 2 polish Act on Electronic Signature and Art. 78 § 2 Civil Code, qualified electronic signature equals to autograph signature. This confuses parties who have problems with understanding why their pleadings signed with qualified electronic signatures are not accepted by the administrative court. Act on Informatization does not apply on administrative courts now but the project on Amendment of the Act on Informatization passed on 8 January 2010 would oblige them to accept electronic documents in litigation. The Article presents how exactly administrative courts justify not accepting electronic documents now and how it would change when the Amendment of the Act should come into force. Apart from characterizing Supreme Administrative Court’s rulings, this article concentrates on the influence of the Amendment of the Act on Informatization over the Act on Administrative Court Proceedings.

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41

Bureaud, Annick. "Art et technologie: La Monstration (How to Curate, Display and Exhibit Works of Electronic Art)". Leonardo 33, n.º 1 (febrero de 2000): 61. http://dx.doi.org/10.1162/leon.2000.33.1.61.

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42

Dasgupta, Abhijit, Donald Barker y Michael Pecht. "Reliability Prediction of Electronic Packages". Journal of the IEST 33, n.º 3 (1 de mayo de 1990): 36–45. http://dx.doi.org/10.17764/jiet.2.33.3.722130658127865r.

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The electronics industry traditionally addresses the issue of life-cycle prediction of electronic devices as a constant failure rate problem by assuming that a burn-in period has been completed and that wear-out will not occur within the designed service life of the device. Although some electrical characteristics of electronic devices may exhibit early and random failures, the majority of failures in electronic packages are due to mechanical failure mechanisms such as fracture, fatigue, and corrosion. These failures are primarily wear-out phenomena rather than statistically random phenomena and hence cannot be characterized as a constant failure-rate process during any significant segment of the life of the device. This article provides an overview of the state-of-the-art in generating analytical models for fatigue life estimation due to mechanical wear-out, and to critically examine the applicability of these models in the reliability prediction of electronic packages.

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43

Gorbunova, Anna V. "Electronic Publications on Culture and Art in Russian Libraries (Based on the Materials of All-Russian Competitions)". Observatory of Culture 15, n.º 6 (28 de diciembre de 2018): 658–67. http://dx.doi.org/10.25281/2072-3156-2018-15-6-658-667.

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Since 2004, the Russian State Library has organized all-Russian competitions of library electronic products on culture and art. In total, during six competitions, about 100 electronic publications has been presented, mainly by public libraries of regional and municipal levels, as well as by federal, special and university libraries.Analysis of the competitions’ materials allows to say that the libraries of Russia produce roughly the same number of network and local electronic publications, while the share of network publications is gradually increasing; in addition to the original editions, derivatives are published; there are few updated electronic publications, although they are very convenient for online distribution. In content, there are information publications devoted to the most vivid manifestations of national and regional culture and contributing to its preservation and development. Professional literature is provided to help specialists of libraries and other institutions of culture and art.Evaluation of the competitions’ electronic publications was carried out according to the following criteria: quality of content, compliance with the requirements for publications, design, functionality and technical characteristics. According to these criteria, more than half of the electronic publications participating in the 6th competition received average and high scores, which indicates a sufficiently high quality of the electronic publications of libraries. Some publications received low scores mainly due to errors in the design and weak functionality.The main conclusion: libraries have occupied a stable niche in electronic publishing.

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44

Szulakowska, Urszula. "Electronic Space in Contemporary Australian Art: Practice and Theory". Leonardo 24, n.º 2 (1991): 167. http://dx.doi.org/10.2307/1575289.

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45

Spitz, Rejane. "The Rhythms, Flavors and Meanings of Brazilian Electronic Art". Leonardo 28, n.º 3 (1995): 157. http://dx.doi.org/10.2307/1576067.

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46

Licinio, Julio. "State of the art and electronic submission of manuscripts". Pharmacogenomics Journal 2, n.º 1 (enero de 2002): 1. http://dx.doi.org/10.1038/sj.tpj.6500093.

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47

Molner, Ernest. "Second International Symposium on Electronic Art (SISEA), Groningen, Holland". Computer Music Journal 15, n.º 3 (1991): 108. http://dx.doi.org/10.2307/3680772.

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48

Saper, Craig. "Electronic Media Studies: From Video Art to Artificial Invention". SubStance 20, n.º 3 (1991): 114. http://dx.doi.org/10.2307/3685183.

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49

Hasselbring, Wilhelm y Hans Weigand. "Languages for electronic business communication: state of the art". Industrial Management & Data Systems 101, n.º 5 (julio de 2001): 217–27. http://dx.doi.org/10.1108/02635570110394644.

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50

Kirschenmann, Johannes. "The Electronic Prometheus and its Consequences for Art Education". Journal of Art & Design Education 20, n.º 1 (febrero de 2001): 11–18. http://dx.doi.org/10.1111/1468-5949.00245.

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Artículos de revistas sobre el tema "Electronic art"

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