Tesi sul tema "Digital artwork"
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1
Stanley, Michael Leighton. "Digital compositing with traditional artwork". Texas A&M University, 2005. http://hdl.handle.net/1969.1/2643.
Abstract (sommario):
This thesis presents a general method and guidelines for compositing digital characters
into traditional artwork by matching a character to the perspective, lighting,
style, and complexity of the particular work of art. The primary goal of this integration
is to make the resulting image believable, but not necessarily to create an
exact match. As a result, the approach used here is not limited to a single rendering
style or medium, but can be used to create a very close match for almost any artistic
image. To develop and test this method and set of guidelines I created composites
using a variety of styles and mediums.
2
McCormick, Sean. "Digital album artwork for the album "This was Tomorrow"". Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/35/.
Abstract (sommario):
Thesis (B.F.A.)--California Polytechnic State University, 2009.Project advisor: Mary LaPorte. Title from PDF title page; viewed on Mar. 10, 2010. Includes bibliographical references. Also available on microfiche.
3
Pentes, Tatiana. "BlackBOX : painting a digital picture of documented memory". University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/357.
Abstract (sommario):
This study investigates and records the production of a digital media artwork blackBOX: Painting A Digital Picture of Documented Memory, generated through the media technologies of interactive multimedia, exploiting the creative potentials of digitally produced music, sound, image and text relationships in a disc based and online (Internet) environment. The artwork evolves from an imaginary electronic landscape that can be uniquely explored/ played in a non-sequential manner. The artwork/ ‘game’ is a search for the protagonist Nina’s hybrid cultural identity. This is mirrored in the exploration of random, fragmentary and non-linear experiences designed for the player engaged with the artwork. The subjective intervention of the player/ participant in the electronic artwork is metaphoric of the improvisational tendencies that have evolved in the Greek Blues (Rembetika), Jazz, and Hindustani musical and performative dance forms. The protagonist Nina’s discovery of these musical forms reveal her cultural/ spiritual origins. As a musical composer arranges notes, melodies and harmonies, and sections of instruments, so too, the multimedia producer designs a ensemble of audio-visual fragments to be navigated. Dance also becomes a driving metaphor, analogous to the players movement in and through these passages of image/ sound/ text and as a movement between theories and ideas explored in the content of the program. The central concern is to playfully reverse, obscure, distort the look of the dominating/colonialist gaze, in the production of an interactive ‘game’ and allow the girl to picture herself. One of my objectives is to explore the ways in which social research can be undertaken by the creation of an interactive program in the computer environment utilising interactive digital media technologies. The study reveals that, through the subjective intervention of the (player) user4 with the digital artefact, a unique experience and responsiveness is produced with the open ended text. The work is comprised of a website http://www.strangecities.net; an interactive CD-ROM; a gallery installation; digital photomedia images; and a written thesis documenting and theorising the production. 4 The term user, while widely debated has been in usage from the 1980s to refer to the unique human interaction with the digital artefact, electronic screen work, and computer interface.
4
Yijun, Ding. "The aura of the artwork in the digitalization age : An experimental study based on Benjamin and Baudrillard". Thesis, Uppsala universitet, Institutionen för informatik och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-325739.
Abstract (sommario):
This thesis explores how the aura of the artworks changes in the age of digital reproduction through the empirical experiments conducted in Uppsala Konstmuseum. By employing the definition of the aura given by Benjamin in The work of art in the age of the mechanical reproduction and The arcade project, this thesis conceptualizes the “aura” into eight dimensions and then operationalizes the eight dimensions in order to find whether audience’s evaluation of the artwork changes when they are given different stimulus in the control experiment. From the control experiment, the quantitative data will be obtained from a questionnaire and non-participant observation. The qualitative data will be obtained from the interviews. By also applying the simulacra theory of Baudrillard to the analysis part, this thesis finds that there exists a small difference in the perception of the aura between the people who see a digital copy and who see a real painting. The aura still has its power. However, such power is really weak, as many dimensions of the aura have been weakened by the digital simulacra. Through this study, I suggest the museums to take cautious steps to digitalize their artworks though there is no evidence that virtual museums can replace real museums.
5
Swift, Elizabeth. "The hypertextual experience : digital narratives, spectator, performance". Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16025.
Abstract (sommario):
This thesis demonstrates how the dynamics of hypertext fiction can inform an understanding of spectatorial practices provoked by contemporary performance and installation work. It develops the notion of the ‘hypertextual experience’ to encapsulate the particular qualities of active user engagement instigated by the unstable aesthetic environments common to digital and non-digital artworks. The significance and application of this term will be refined through an examination of different works in each of the study’s six chapters. Those discussed are as follows: Performances: Susurrus, by David Leddy; Love Letters Straight from the Heart and Make Better Please, by Uninvited Guests; The Waves, by Katie Mitchell; House/ Lights and Route 1 & 9, by the Wooster Group; Two Undiscovered Amerindians Discover the West, by Coco Fusco and Guillermo Gómez-Peña. Digital works: Afternoon (1987) by Michael Joyce; Victory Garden (1992) by Stuart Moulthrop; TOC by Steve Tomasula; The Princess Murderer by Deena Larsen. Installations: H.G. and Mozart’s House, by Robert Wilson; Listening Post, by Mark Hanson and Ben Rubin. In developing and discussing the hypertextual experience the thesis uses a number of conceptual frameworks and draws on philosophical perspectives and digital theory. A central part of the study employs an adaptation of possible worlds theory that has been recently developed by digital theorists for examining hypertext fiction. I extend this application to installation and performance and explore the implications of framing a spectator’s experience in terms of a hypertextual structure which foregrounds its performative operations and its engagement with machinic processes.
6
Khalfallah, Riahi Sonia. "Performance dansée augmentée et installation interactive performative : possibilités et limites de la co-création". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080069.
Abstract (sommario):
Les œuvres numériques interactives remettent en question le rôle du spectateur. Il est sollicité physiquement et sensoriellement afin de l’inciter à être actif. Dans ce projet de thèse, nous mettons en avant le potentiel créatif enfui dans chaque participant à travers sa gestualité interactive dans la co-création de l’œuvre.À partir de l’exploration des différents gestes performatifs à travers les courants et les disciplines artistiques existants sous forme de performances et d’installations, nous avons identifié et créé le geste performatif recherché dans nos créations artistiques : la gestualité interactive créative et performative. Par ailleurs, dans le cadre de cette recherche-création, la réalisation de performances dansées augmentées et d’installations interactives performatives a été consolidée par l’observation et l’étude des comportements des participants afin de déterminer les possibilités et les limites de la co-création des œuvres réaliséesInteractive digital artworks question the role of the spectator. They solicit him physically and sensually in order to make him active.In this thesis project, we highlight the creative potential embedded in each participant through their interactive gestures in the co-creation of the artwork.Thanks to the exploration of the different performative gestures through existing art movement and disciplines in the form of performances and installations, we identified and created the sought performative gesture in our artistic creations : creative and performative interactive gestures. Moreover, as part of this research-creation, the realization of augmented dance performances and performative interactive installations was consolidated through the observation and the study of the participants’ behavior in order to depict the possibilities and the limits of co-creation in the created artworks
7
Smith, Allison Hope. "162 Springcrest". Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231199349606.
8
Meneses, Luis. "Exploring the biography and artworks of Picasso with interactive calendars and timelines". [College Station, Tex. : Texas A&M University, 2007. http://hdl.handle.net/1969.1/ETD-TAMU-1451.
9
De, Wild Karin. "Internet art and agency : the social lives of online artworks". Thesis, University of Dundee, 2019. https://discovery.dundee.ac.uk/en/studentTheses/a6a64a92-2edc-44a8-b371-de4a61bdc289.
Abstract (sommario):
During the 1990s, artists started to explore the possibilities of the World Wide Web. This thesis investigates online artworks by studying their agency. Why do people interact with them, as if they are alive? How do they mobilise people, or make them share visions and ideas? Based on research in largely untapped archives, it presents an in-depth examination of several case studies, exploring the artwork's ability to have the power to act in a variety of social settings. Through studying the life trajectory of the artwork, it also offers insights in how these dynamic entities undergo changes over time and across cultures. Grounded in theoretical literature on the agency of art, this research offers an innovative way of understanding Internet art and it contributes to wider conversations about the agency of art and artefacts. Case studies include: Mouchette (Martine Neddam), 'Mouchette' (1996-present). Web project (www.mouchette.org). Collection of Stedelijk Museum (Amsterdam). Shu Lea Cheang, 'Brandon' (1998-1999). Web project (brandon.guggenheim.org). Collection of Solomon R. Guggenheim Museum (New York). Lynn Hershman Leeson, 'Agent Ruby' (1998-2002). Web project (agentruby.sfmoma.org). Collection of SFMOMA (San Francisco).
10
Power, Debby Akam. "The use of digital media in artworks that demonstrate contemporary cultural engagements with the rural environment". Thesis, University of Sunderland, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404642.
11
McCallion, P. J. "The development of methods for the reproduction in continuous tone of digitally printed colour artworks". Thesis, University of the West of England, Bristol, 2017. http://eprints.uwe.ac.uk/30002/.
Abstract (sommario):
Advances in printing technologies in the late 19th century led to the development of half-toning techniques enabling the economical reproduction of photographic images in print. Whilst undoubtedly successful in low cost high volume image reproduction, half-toning representations are less faithful in detail when compared to continuous tone photomechanical methods in use at that time. This thesis asks the question: can the creative application of 21st century digital fabrication technologies enable the qualities of continuous tone imaging to be regained? In the 21st-century, printmaking may be seen as the interchange of ideas, experimental practice and interdisciplinary thinking. Printmaking has always been a means of combining modern technology and methods with existing traditional and commercial imaging processes. Technological advancement in print however does not always provide a finer quality of print. Qualities often attributed to pre-digital continuous tone printing can be lost in the transition to a digital half tone print workflow. This research project examines a near obsolete 19th century print process, the continuous tone Woodburytype, developed to address the issue of permanence in photography. Through a methodological approach analyses of the Woodburytype an empirical reconstruction of the process provides a comprehensive critique of its method. The Woodburytype’s surface qualities are not found in other photomechanical printing methods capable of rendering finely detailed photographic images. Its method of image translation results in the printed tonal range being directly proportional to the deposition thickness of the printing ink, however it never successfully developed into a colour process. By examining and evaluating digital imaging technology this study identifies, current computer aided design and manufacturing techniques and extends upon known models of Woodburytype printing through the development of this deposition height quality enabling a new digital polychromatic colour printing process.
12
Gould, C. E. "Interactive works for urban screens : a practice based study into building new ways of engaging communities in urban space through interactive artworks for urban screens". Thesis, University of Salford, 2015. http://usir.salford.ac.uk/35462/.
Abstract (sommario):
In our urban environment we are surrounded by strangers, observed via surveillance cameras and connected to millions via the global digital infrastructure. Our media is pervasive and immersive, implicit in everything we do, as the distinction between the real and virtual becomes increasing blurred. Whilst pervasive screens are becoming an essential personal tool, large format public screens form part of the furniture of our urban architecture. This study will ask how we can maximise opportunities for cultural engagement using urban screens and how this can impact on our culture. In the last ten years urban screens have been installed across the world, including in twenty-two cities in the UK funded by the BBC and Local Authorities for the Cultural Olympiad. The aim of the screens was to address local communities in order to reflect something of their respective location and community, “with a full programme of locally run community and sporting events”. (http://www.bbc.co.uk/bigscreens) Urban screens have a huge potential to play a role in changing the way that the public engages in urban space. Lucy Lippard identifies “place” as a hybrid of communal memories (Lippard, L. 1997, p9) and proposes that artist play a key role in offering community a framework from which to tackle issues, and debate. Urban screens are usually located in busy shopping centers and are ideally located to attract a broad demographic to contribute to a memory of place embracing an inclusive multicultural and tolerant approach. Through this thesis I explore how interactive works for urban screens can offer opportunity for public participation in the urban environment. Kristine Stiles and Ed Shanken propose that a key factor in interactive works is that they offer “agency” which involves freedom to make choices and to be creative in order to make a difference. (Stiles, K. Shanken E. 2011, p32) Through my literature review and current creative practice, including urban screen projects in collaboration with telematics artist Paul Sermon; “Picnic on the Screen” for the Glastonbury Festival BBC Village Screen 2009 and “Occupy the Screen” for Connecting Cities Berlin/Riga 2014, I explore how interactive artists can optimise agency, opportunities for play, creativity and self-representation to a diverse audience in order to change the way that we engage in the urban environment. Through this PhD I have developed a framework for engagement with public audiences through play.
13
Lugli, Benedetta Ludovica. "Efficientamento del processo di creazione e di modifica degli artwork all'interno di una multinazionale farmaceutica attraverso l'automazione del packaging material request form". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
Abstract (sommario):
Questo lavoro di tesi si prefigge di analizzare una situazione aziendale reale in cui a fronte della rilevazione di inefficienze nella finalizzazione di un processo, questo viene analizzato e reingegnerizzato.
Nel primo capitolo verrà introdotto l’inquadramento generale degli ambienti aziendali odierni, costantemente sottoposti alle pressioni date dal dinamismo del mercato moderno. In quest’ottica le aziende devono utilizzare dei metodi per la gestione della qualità che gli permettano di rimanere competitive sul mercato. In questo capitolo saranno esplicitati i metodi del Total Quality Management, utilizzati dalle aziende per ottimizzare ogni singola attività per puntare al miglioramento continuo dell’intero processo di creazione del valore.
Nel secondo capitolo si descriverà Chiesi Farmaceutici.
Nel terzo capitolo si entrerà nel cuore del progetto, verrà presentata la situazione AS-IS partendo da un’analisi funzionale dei processi di redazione e di approvazione del PMRF, per poi, da questa, estrapolare i punti critici che hanno portato i dipendenti di Chiesi Farmaceutici SpA a valutare la reingegnerizzazione dell’intera attività. Successivamente si citeranno e si spiegheranno le possibili soluzioni individuate a monte dell’analisi sopracitata ed i programmi informatici utilizzati a supporto dei workflow di editing di approvazione. Ogni soluzione sarà analizzata presentando i pro e i contro, i vari punti di ottimizzazione e i requisiti qualitativi che ricoprirebbe.
Scelta la soluzione ottimale tra quelle proposte, nel capitolo quattro si analizzerà la situazione TO-BE, ovvero l’ideazione del tool digitale che sostituisce le vecchie metodologie di gestione del PMRF. Saranno quindi esposte le nuove modalità di redazione con i vantaggi e gli svantaggi ed i nuovi workflow. Infine, saranno analizzati i risultati finali in modo critico mostrando le evidenze della necessità dell’implementazione dell’e-PMRF e della buona riuscita della reingegnerizzazione.
14
Havlik, Michele Lynne, e havlik@optusnet com au. "An investigation of Interaction Design principles, for use in the design of online galleries". RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.091808.
Abstract (sommario):
Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.
15
VOLPE, Lisa. "EARTH SCIENCE AND MODERN - CONTEMPORARY ART: FINGERPRINTS FOR THE SAFEGUARD OF ARTWORKS IN VIEW OF FINE ARTS TRANSPORTATION". Doctoral thesis, Università degli studi di Ferrara, 2013. http://hdl.handle.net/11392/2389470.
Abstract (sommario):
Abstract
One of the most important problem of artwork's uniqueness is related to the handling of the
works for exhibitions around the world and the risks linked to this aspect (counterfeiting, etc.).
With the diffusion of non-invasive methodologies in Cultural Heritage field, the historicalartistic-
stylistic studies, designed for false artworks’ identification, are increasingly followed by
chemical and spectrographic analyzes that allow material characterization of support and
painting, underlining the important role of pigments considered "dating pigment ".
Structural and texture elements of pictorial surface, painting support and chemical-mineralogical
composition of pigments could be consider like “element of uniqueness” for the studied artwork.
A map of these elements, that should be fundamental to writing the “condition report”, is very
useful to control artwork during its movement for art-exhibition, to reduce risks of substitutions
(counterfeiting, etc.) and to verify the dawning of damage phenomena in order to project suitable
prevention plans.
The knowledge of some artworks’ characteristics, difficult to reproduce and that are punctual
placed, allows to identify uniqueness feature of artworks (like fingerprint) and to control its
identity during movement phase. Further to textural characteristic (brushstroke direction,
craquelures geometry, distribution and thickness of pictorial layer, pentimenti, support, kind of
canvas fibers, etc.), the chemical-mineralogical of pigments could be applied to support
identification of false artwork or ancient copies: finding pigment which utilization period is well
known (i.e. initial use: first commercial introduction or pigment patent, etc.; final use: replaced
pigment for its toxicity, etc.) permits to hypothesize proposal “post-quem” date of painting.
In this way, identification of these characteristic, belonging to dating pigment, represents
fundamental reference for dating actions. However, the limits of this application is linked to
modern and contemporary art: if the painting was made simultaneously to commercial entry of
this dating pigment, it will be difficult to distinguish if that painting is original or if it is a copy or
fake.
Then considering that many artificial pigments are used in restoration field, before carrying out
chemical analysis, it suggests to verify if the region of interest do not present restoration act; in
this way it is more easy to avoid a wrong interpretation of analyzed paintings.
In spite of the important role that dating pigment have in identification studies, the complexity of
color pigment and the size of pigment particles could create some problems from analytical point
of view; for these reason, the research focus its attention then to look for more appropriate
methodologies.
This research belongs to this cognitive path in which Earth Science know-how will be transferred
to Cultural Heritage domain.
The current study focuses its attention to the identification of these characteristics (film thickness
pictorial peculiarities of artistic technique, mapping of the distribution of the different pigments
on medium, restoration, structural and material characteristics, etc.), selecting analytical
methods, that will be less invasive and more appropriate according to possibility to move
artwork. Earth Science approach demonstrates to be very useful especially for the White
Titanium Oxide pigment in which, the identification of Rutile or Anatase phase helped in
proposal dating of an analyzed painting.
The identification of these “art-fingerprints” at microscopic level is tested both on pictorial
specimens taken from painting made by national and international artist (J.S. Sargent, P. Picasso,
A. Modigliani) both on entire painting with dubious dating or artist attribution (G. Boldini, F. De
Pisis). Considering the uniqueness of analyzed paintings and samples, the analytical procedure
begins using non-invasive techniques (for painting painting) and it finishes carrying out nondestructive
analysis in order to preserve samples for further analysis.
In conclusion, the research is useful also to evaluate conservative condition and materials
composition in support to maintenance-restoration actions and dating purpose, but also it could
be applied in assurance policy (uniqueness art-fingerprint), i.e. nails to nails policy, painting’s
during movement for art-exhibition.
16
Hsiao, Shih-Ting, e 蕭世廷. "A Study of Interactive Artwork by Integrating Digital Devices". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/53668590715394797573.
Abstract (sommario):
碩士國立雲林科技大學
設計運算研究所碩士班
100
Many interactive artworks often achieve better interaction experience due to using digital devices. Computers are often used for integrating several kinds of digital devices. This study discussed interactive artworks which were made by integrating digital devices. The researcher created and exhibited two interactive artworks “News, Trash, News” and the “The Voice of Abandon” based on the observation of environment and the experiment of life. Both of the two interactive artworks used the suitable digital devices and integrated them by computer application programs to follow the steps of design and produce. After analysis the two interactive artworks, this study found that the interactivity of interactive artworks would grow with increased feedback and productivity components. This study also found that the relationship between the artworks and the sensory system or locomotor system of audiences guide the selection of the digital devices used in interactive artworks. Moreover, computers would integrate digital devices more easily if the core programs are separated from the peripheral programs and using some appropriate visible computer application programs instead of writing all of them.
17
"Critical reflection in a digital media artwork. Playas: Homeland Mirage". TEXAS A&M UNIVERSITY, 2008. http://pqdtopen.proquest.com/#viewpdf?dispub=3281007.
18
Stenner, Jack Eric. "Critical reflection in a digital media artwork - Playas: homeland mirage". Thesis, 2007. http://hdl.handle.net/1969.1/ETD-TAMU-1893.
Abstract (sommario):
The introduction of digital media into the working practice of artists has produced challenges previously unknown to the field of art. This inquiry follows an atypical model of artist-driven research derived from disciplines such as social science and education. Here, an artwork functions as a model that is self-reflective, integrating methodologies in a form that benefits art and science. Using Naturalistic Inquiry, including semi-structured interviews of fifteen participants, the work illustrates a process of creation, analysis and evaluation that places the values of the artist on equal footing with the needs of science. Recently, artists have begun using video game engines as a tool to produce 3D navigable spaces. Using the hybrid video game/installation Playas: Homeland Mirage as a case study, this research examines the impact of technology on the artwork and identifies a number of key issues related to the function of critical reflection in this environment. Rules-of-play were a fundamental pre-requisite to the stimulation of critically reflective experience. The human interface with software and hardware was also a primary factor in reflective experience. Based on participant evaluation and observation, the interface was altered in response to its effect on critical reflection, illustrating how choices in this area impact aesthetic experience. Those with experience in visual art were more likely to engage the work in a critically reflective manner than seasoned video game players who tended to be more interested in scoring and winning. These findings and others inform our understanding of the stimulation of critical reflection in immersive environments and show how we can sensitively integrate technology with meaningful evaluative methods. By repurposing a video game in this manner, we learn about the nature of the video game and the nature of art. This research enables artists to gain a better understanding of the medium to more fully integrate technology within a meaningful practice. Conversely, other fields will benefit from a better understanding of the stimulation of meaning in immersive spaces and gain a comprehensive view of a work that strives to contribute to our culture on a deeper level than as simple entertainment. Ultimately, more fully understanding critical reflection in virtual environments will enable us to create enriched experiences that transcend space to create “real” or “virtual” place.
19
Hargadon, Michael A. "Like City Lights, Receding: ANSi Artwork and the Digital Underground, 1985-2000". Thesis, 2011. http://spectrum.library.concordia.ca/7341/1/Hargadon_MA_S2011.pdf.
Abstract (sommario):
The rise of the Internet has obscured knowledge of the modes of mass online interaction that preceded it. Foremost amongst these was the Bulletin Board System (BBS), whose unique technological constraints encouraged the development of the art form known as ANSI. Through an examination of the economic paradigm shift that permitted mass adoption of microcomputers, the technological operating environment of the 1980s and 1990s and the ethos of the software piracy scene of that era, this thesis explains why this species of art took the form that it did, why artists chose to express themselves in this medium, and how ANSI defined the aesthetics of the online world between 1985 and the turn of the century. Far from a mere form of expression, the production and display of ANSI art on BBSes served as a signifier of and route to the acquisition of status within the sub rosa branch of autonomous dial-in computer systems that comprised the pre-Internet digital underground.
20
Grotepass, Maria. "Investigating the software artwork creation process from an Agile perspective". Thesis, 2013. http://hdl.handle.net/10539/12270.
Abstract (sommario):
The software artwork creation process is investigated using interviews with the artists,
Brogan Bunt, Pierre Proske, Nathaniel Stern, Joshua Goldberg and Pall Thayer. This
research asks the questions: How do practising software artist experience their
development process? How does this process compare with the Agile software
development process? How can conclusions made from a comparison between the Agile
process and the discussions held with practising software artists shed light on the areas
where the Agile process can assist artists and areas which might be avoided? The
creative process was investigated from a cognitive psychological angle. The software
development process was investigated from an Agile process point of view. Concepts
connected with software as art medium provides the themes that face artists who choose
software as medium. This study illuminates aspects of the Agile process that may assist
software artists as well as highlight areas of the process that may disrupt the creative
process. A process that is iterative, allows different cognitive styles and supports
collaboration is recommended. Tools such as source code control and exploratory testing
can support artwork documentation and exploration of the medium. The practical
component of this research relates to the philosophical themes of the underlying
software visibility in software art and a visual interpretation of the software
development process.
21
Reilly, Warren Andrew. "An analysis of traditional and digital methods for producing three dimensional artworks". Thesis, 2011. http://hdl.handle.net/1959.13/929800.
Abstract (sommario):
Research Doctorate - Doctor of Philosophy (PhD)This document is an investigation into the tools and processes used by artists and designers to convert their mental ideas into three dimensional space. Limiting itself to the field of sculptures using the human figure as the central subject, this research covers the techniques and tools used and the potential for recent engineering technologies to offer some advantage. The paper makes two major assertions: that a number of identifiable criteria are used by artists to control the forming of space, and that the recent emergence of haptic devices and additive fabrication may offer a relief from the constraints of some of these criteria. The research involves the creation of artworks using two separate sculpting techniques and cross analysing the processes used and the results being produced. The first sculptural technique involves organic clays formed using manual hand tools, compared to the second technique of utilising computer generated virtual clays formed using specific software applications and a desk mounted haptic feedback device as substitute for the manual tools. The research concluded with an exhibition of the works created and the submission of this exegesis.
22
Lin, Ying-Chun, e 林英純. "A Digital Artwork Collection System with Recommendation Module - a Case Study on the Website of a University's Art Center". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/77805678445040270823.
Abstract (sommario):
碩士正修科技大學
資訊管理研究所
100
In the era of highly developed information and internet technology, using digital techniques to preserve artwork collections by images or 3D models and presenting them on websites have become the current trend. Users can thus browse the exhibits and interactive with them without any temporal and spatial constraints. We proposed a framework of digital artwork collection system in this study for instance of the construction of the website an art center in a university. The system is developed by adopting ASP.NET, and the structure of this system consists of four parts which are the construction of artworks collections, presentation of front-pages, searching, and interaction with users. Besides of construction of the artwork collection system, in this study, we also add a recommendation module on the system which combines collaborative filtering method and content-based filtering method based on data mining technologies. In the recommendation module, the groups of users who have the same preferring items are found, and the browsing behaviors of users in the same group are analyzed to output recommending items. A list of ranking items is then provided to users for their reference.
23
Carvalho, Margarida Ribeiro Ferreira de. "A Obra “Faça-você-mesmo”: Estética da Participação nas Artes Digitais". Doctoral thesis, 2015. http://hdl.handle.net/10362/14990.
Abstract (sommario):
A presente dissertação de doutoramento propõe-se a analisar criticamente a
noção de obra de arte participativa, traduzida pela designação de obra “faça-você-
-mesmo”, que apela à participação ativa e ao agenciamento do público que se tornam
parte integrante do processo criativo engendrado pela obra. A nossa reflexão sobre a
obra “faça-você-mesmo” insere-se no contexto da “cultura da participação” e da
expansão dos media sociais e tem como principal objeto de estudo a obra participativa
nas artes digitais.
Esta tese postula uma análise das práticas participativas nas artes digitais à luz
de uma genealogia artística e crítica que atravessa o século XX e é marcada pela
experimentação com a ativação do público e a abertura da obra, traduzindo-se numa
instabilização de limites entre arte, quotidiano e sociedade.
A nossa abordagem metodológica enraíza-se numa tradição de pensamento
crítico e interdisciplinar próprio das humanidades sendo que recorremos à articulação
entre teoria crítica e análise de casos concretos. Assim, de modo a compreender a
experiência do público com a obra participativa, elaborámos um conjunto de conceitos
que nos permitem conceber uma estética da participação nas artes digitais.
Paralelamente, de forma a conhecermos o universo temático das práticas participativas
nas artes digitais, criámos uma proposta de três linhas temáticas no âmbito das quais
analisámos múltiplas obras concretas, colocando-as em relação com os seus contextos
sociais, culturais e políticos.
As obras “faça-você-mesmo”, descritas nesta dissertação, tendem a situar-se
numa posição intermédia entre os dois extremos das práticas artísticas autónomas “auto-
-reflexivas” e dos projetos artísticos comunitários, que visam facilitar discussões e
sugerir soluções para problemas concretos. Algumas das obras participativas discutidas
neste estudo possuem caraterísticas em comum com a atitude “faça-você-mesmo”
preconizada por determinadas formas de ativismo político, nomeadamente, a
organização não-hierárquica, a autonomia e a participação direta dos voluntários.
Ao convocar a participação do público, a obra “faça-você-mesmo” constitui-se
como um projeto dialógico de experimentação criativa que se pode articular com uma
dimensão política. Porém, este estudo salienta que a obra de arte participativa deve ser
vista à luz de uma tensão entre disrupção e incorporação, liberdade e controlo que
carateriza a dinâmica das redes digitais e do capitalismo contemporâneo.
A presente dissertação propõe de modo fundamentado três linhas de
investigação futura. Primeiramente, a exploração do campo das práticas curatoriais e
museológicas em ambientes participativos. Seguidamente, a análise do modo como o
campo da arte contemporânea e a condição do artista vão evoluir sob a influência do
acesso generalizado aos meios de produção e distribuição artística nomeadamente
através da World Wide Web. Por fim, o estudo dos novos regimes de interação e
expressividade das imagens nas redes digitais.
24
Lai, Pei-Yu, e 賴珮瑜. "The Message Dispositif of Contemporary Artworks in Digital Image". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/nbu5jw.
Abstract (sommario):
博士國立臺南藝術大學
藝術創作理論研究所博士班
106
This research is explored base on researcher’s personal artworks in recent years. Starting from generalizing and reflecting personal artworks,but also exploring the message dispositif of artworks in digital image through characteristics, the way of creation and content of other artists’s artworks in digital image. Of contemporary artworks in digital image with popularized digital tools after 2000’, exploring what content enrich the contemporary art? Are these artworks in digital image showing the special perspective to message spectacle space and mass media? Therefore, this research focuses on artworks in digital image after 2000’ to explore the representativeness in art of the way of creation of artworks in digital image based on message dispositif way of message remove of contemporary artists, by message delete and message disconnect. Briefly, this research exploreshow contemporary artworks in digital image could generate another way of appreciation and interpretation by the relationship between artworks in digital image and the message dispositif. Starting from thinking above to position the direction in this research: (a) Exploring the encoding status of spectacle space, (b) Exploring the reality and reality reconstruction of media message, (c) Exploring time and perception in electro-optic information. “Encoding status of spectacle space”, attempting to explore how to read the message sign in digital image through the decode, reconstruction and production space. “The reality and reality reconstruction of media message” is to explore the relationship between image and reality by the simulation and interpretation in artworks in digital image. “Time and perception in electro-optic information”, exploring the relationship between image time and artworks by the speed sense and perception experience in image artworks. This research is divided into six chapters: The first chapter is introduction; the second chapter is to explore the application and transformation of image and technology media based on the context of digital image art; the third chapter is observing the spectacle space to explore the decode and reconstruction in artworks in digital image; the fourth chapter focuses on mass message and explores the relationship between reality and reality reconstruction by mechanical copy; the fifth chapter is to investigate the time and speed sense in image by the speed of electro-optic information; the sixth chapter is conclusion.This research makes an attempt to use the above direction as an exploration of “message dispositif” of artworks in digital image to point out the pulsing relationship between contemporary artworks in digital image and this age’s.
25
Bristow, Tegan. "The sublime in interactive digital installation: an analysis of three artworks: Listening Post, Translator II: Grower and The Cloud Harp". Thesis, 2009. http://hdl.handle.net/10539/6512.
Abstract (sommario):
This examines the notion of the sublime in interactive digital installation art,
with the primary aim of showing the methods and devices used to evoke the
sublime through interactive digital installation. The evocation of the sublime
which is largely associated with nature is an appealing aesthetic in these
technology driven artworks. This paper follows the history of the notion of the
sublime in the arts and philosophy from Dioynisus Longinus to Jean-François
Lyotard, with an emphasis on Romanticism and Postmodernism. Three case
studies of interactive digital installations art are presented and addressed:
Ben Rubin and Mark Hansen’s Listening Post (2001-2003), Sabrina Raaf’s
Translator II: Grower (2004) and the NXIO GESTATIO Design Lab’s The
Cloud Harp (1997). These are addressed not only in regards to the histories
of the notion but to a contemporary adaptation of the notion, influenced by the
technology age and the Postmodern sentiments of Jean Francois Lyotard.
26
Jooste, Ané. "Childhood sexual abuse and contemporary trauma theory : a visual exploration in selected South African artworks". Diss., 2020. http://hdl.handle.net/10500/27260.
Abstract (sommario):
Text in English, with abstracts and keywords in English and XhosaThe study delves into traumatic memories rooted in the unconscious mind and the modalities of expression of traumatic memories of childhood. Specific reference is made to the trauma studies of Cathy Caruth and Bessel van der Kolk. Using a framework of contemporary trauma theory, I argue that trauma manifests through childhood sexual abuse (CSA) manifests in trauma and that a number of artworks by myself, Penny Siopis and Nathani Lüneberg, reflect such trauma. The research is conducted as practice-led research and focuses on interpretations of selected artworks as well as a theoretical component. The body of large-scale digital paintings plays a significant role in the research process, which implies that theory leads practice and vice versa. The work encompasses the visual exploration of CSA and it is specifically analysed according to my interpretation of symbols such as the naked female body and intimate scenes which illustrate, vulnerabilty, curtains that metaphorically represent a view into my unconscious mind. The symbol of the uterus or the womb, where a foetus or unborn baby develops and grows, is a symbol of nurturing and protection. The artworks are primarily considered according to notions of CSA that cause betrayal and traumatic associations with sex, angst and psychological fragility in children. The exhibition portrays the psychobiological and psyhoanalytical aspects of childhood trauma resulting from CSA. The creative work consists of four digital paintings and seven photographic artworks. The artworks in The Silent Wound Series portray CSA, childhood trauma, and traumatic memories in the unconscious. Dealing with the understanding and representation of childhood trauma such as CSA, these themes are continuously embodied in my artworks. As the portrayal of the fragile girl child’s body as a signifier in the artworks relates to my personal situation, I choose an empathic view of childhood trauma within the study, portraying traumatic events and the memories thereof in the unconscious. The aim of the study is to recognise how digital painting and photography enable the representation and understanding of CSA and traumatic memories and how the silenced and abused child’s voice can be expressed through the affective and transactive quality of art. The main study objective is to investigate if traumatic memories occur in victims of CSA.
Uphononongo lungena nzulu kwiinkumbulo ezoyikisayo ezendele kwingqondo eleleyo kunye neendlela zokubonisa iinkumbulo ezibuhlungu zobuntwana. Ngokukhethekileyo kujoliswe kuphando olwenziwe kwizifundo zomothuko zikaCathy Caruth noBessel van der Kolk. Ndisebenzisa isakhelo sethiyori yanamhlanje, ndivakalisa ukuba umothuko wokuxhatshazwa ngokwesondo ebuntwaneni (i-CSA) bubonakala kuloyiko kwaye eminye yemisebenzi yam yobugcisa, uPenny Siopis kunye noNathani Lüneberg, ibonisa uloyiko olunjalo. Uphando lwenziwa njengophando olukhokelwa kukuziqhelanisa kwaye lujolise kutoliko lwemisebenzi yobugcisa ekhethiweyo kunye nenxalenye yethiyori. Uvimba wemizobo emikhulu yedijithali idlala indima ebalulekileyo kwinkqubo yophando, oko kuthetha ukuba ithiyori ikhokelela ekusebenzeni kwaye nangokuphendulelekileyo. Umsebenzi uquka uphando olubonakalayo kwe-CSA kwaye ucazululwa ngokukodwa ngokokutolika kwam iisimboli ezinje ngomzimba wabasetyhini ehamba ze kunye nemiboniso esondeleleneyo ebonisa, ukuba sesichengeni, iikhethini ngokukwekwayo ezimele imbono kwingqondo yam eleleyo. Uphawu lwesibeleko okanye isibeleko, apho umbungu okanye usana olungekazalwa lukhula khona kwaye lukhule, siluphawu lokondla nokukhusela. Imisebenzi yobugcisa iqwalaselwa ikakhulu ngokwemibono ye-CSA ebangela ukungcatshwa kunye nomanyano oludakumbisayo ngezesondo, ixhala kunye nobu-ethe-ethe ngokwengqondo ebantwaneni. Umboniso uzoba iimeko zengqondo ephilayo kunye nohlalutyo lwengqondo elimeleyo yobuntwana ebangelwe yi-CSA. Umsebenzi wobugcisa unemizobo emine yedijithali kunye neefoto zobugcisa esixhenxe. Imisebenzi yobugcisa kwi-Silent Wound Series izoba i-CSA, umothuko wobuntwana, kunye neenkumbulo ezibuhlungu ezikwingqondo eleleyo. Ukusebenza nokuqonda nokutolika ukwenzakaliswa kobuntwana okufana ne-CSA, le mixholo ihlala iyinxalenye kwimisebenzi yam yobugcisa.Njengoko ukwenza uzobo lomzimba o-ethe-ethe womntwana oyintombazana njengomboniso kwimisebenzi yobugcisa kunxulumene nemeko yam yobuqu, ndikhetha umbono onovelwano wokwenzakala kobuntwana kolu phononongo, ndibonisa iziganeko ezihlasimlis 'umzimba kunye neenkumbulo zazo ezingqondweni ezileleyo. Injongo yophando kukufuna ukuqonda ukuba imizobo ngedijithali kunye nokufota kukwenza njani ukumelwa kunye nokuqondwa kwe-CSA neenkumbulo ezenzakalisayo nokuba ilizwi elithulisiweyo nempatho-mbi yomntwana linokuvakaliswa njani ngokomgangatho ochaphazelayo notshintshayo wobugcisa. Eyona njongo iphambili yophando kukuphanda ukuba iinkumbulo ezibuhlungu ziyenzeka kumaxhoba e-CSA.
Arts and Music
M.V.A.
27
Earnshaw, Rae A., S. Liggett e K. Heald. "Interdisciplinary Collaboration Methodologies in Art, Design and Media". 2013. http://hdl.handle.net/10454/7080.
Abstract (sommario):
NoCollaboration in art, design and media has traditionally taken place in the studio. Recent experiments in collaboration and interaction have sought to identify the factors that promote productive and creative collaboration and those that do not. It is clear that virtual collaboration mediated by computer networks can include many of the elements that characterise face to face collaboration. This also facilitates international collaboration just as easily as national and local ones. At the same time, digital convergence is producing environments and artefacts that blur the traditional distinctions between art and technology, and which give rise to new creative opportunities and new kinds of creative works. These are described in this paper and their significance is explored. These also cause further reflections on the contributions that science can make to art and vice-versa.