Gotowe bibliografie tematyczne / Digital art Technique

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Gotowa bibliografia na temat „Digital art Technique”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Digital art Technique"

Lyu, S., D. Rockmore i H. Farid. "A digital technique for art authentication". Proceedings of the National Academy of Sciences 101, nr 49 (24.11.2004): 17006–10. http://dx.doi.org/10.1073/pnas.0406398101.

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Thomas, Reji, Vibisha V, Tabassum A i Thanuja S. "Digital Watermarking". International Research Journal of Computer Science 10, nr 05 (23.06.2023): 124–29. http://dx.doi.org/10.26562/irjcs.2023.v1005.04.

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The paper introduces the digital watermarking technology which is a data hiding technique that embeds a message into a multimedia work such as an image or text or other digital object. The proposed technique has several important applications; the majorly important is the digital copyrights protection. The digital watermarking system as any other data hiding technique has its own requirements that make the digital watermark strong as possible. Technologies of digital watermarking are mainly classified depending on their domain to spatial domain watermarks, Watermarks belonging to frequency (transform) domain and wavelet domain watermarks. The digital watermarks suffer from different types of attacks that include either state-of-the-art watermarking attacks or watermark estimation attacks. The recovery from these attacks requires strong detection techniques; the digital watermark agent provides a professional solution for these attacks.

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Nekrasov, Dmitry Yurievich. "Fractal graphic as digital objectless art". Journal of Flm Arts and Film Studies 6, nr 1 (15.03.2014): 68–76. http://dx.doi.org/10.17816/vgik6168-76.

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This article analyses the phenomenon of digital computer graphics, based on mathematical calculations, and possibilities of using it in different modern art techniques. Digital fractal patterns are irregular, self-similar structures, which are based on natural objects' group of similar characteristics, such as: corals, starfishes, sea urchins, snowflakes, crowns of the trees. The principle of such image shaping is natural, so its worthwhile to trace down it's digital mathematic simulation. Contrary to digital graphic and painting, fractal graphic does not base on classic art traditions. The closest to the fractal graphics are objectless ornamental traditions, inheriting principles of infinite spatial creation of similar groups. The article includes the comparison of general ornamental rules and features of fractal images. Due to the fact that modern computer software allows to create the digital fractal graphics without special mathematical skills, an artist can combine traditional and digital painting and abstract fractal graphic to reach that level of balance and fortuity of an image, that abstract artist has tried to get, using traditional techniques. The fractal graphic is examined as a digital counterpart of traditional painting technique of monotyping in complex art work. Author underlines the likeness of many digital and material ways of creating images. Finally, the visual language of a piece of art still remains more important, than technological details of its production.

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Asare, Samuel, Priscilla Walden, Eric Aniagyei i Mensah Emmanuel. "A Comparative Study of Traditional Art Techniques versus Digital Art Techniques in the Context of College Visual Art Education". American Journal of Arts, Social and Humanity Studies 3, nr 1 (10.08.2023): 21–34. http://dx.doi.org/10.47672/ajashs.1556.

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This comparative study explores the efficacy of traditional art techniques versus digital art techniques within the framework of college visual art education. The purpose of this study is to examine the impact of these two distinct approaches on students' learning outcomes, creative expression, and skill development. By employing a qualitative methodology, this research delves into the experiences and perceptions of students and educators, seeking to identify the strengths and limitations of each technique. The study's findings reveal nuanced insights into the multifaceted nature of art education, highlighting the benefits and challenges associated with traditional and digital methods. The study draws upon constructivist learning theory as the theoretical foundation, emphasizing the role of active engagement and hands-on experience in the learning process. This theory informs the investigation by guiding the exploration of how students construct knowledge and develop artistic skills through different techniques. The validation of the constructivist theory in the study is achieved through thematic analysis of qualitative data, wherein patterns and themes emerge from student and educators’ interviews. The research highlights the significance of a balanced approach to art education, recognizing the value of both traditional and digital techniques. It recommends that practitioners integrate a variety of methods to cater to diverse learning styles and preferences, fostering holistic artistic development. Moreover, the findings offer recommendations to educators to create an inclusive and adaptable curriculum that facilitates the exploration of both traditional and digital mediums. In the context of policy implications, this study underscores the need for flexible policies that support the integration of digital tools and resources in art education while preserving the essential foundations of traditional techniques. Policymakers are encouraged to promote professional development opportunities for educators, ensuring they are equipped to effectively teach and mentor students in both traditional and digital realms.

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Leone, Massimo. "Digital Cosmetics". Chinese Semiotic Studies 16, nr 4 (25.11.2020): 551–80. http://dx.doi.org/10.1515/css-2020-0030.

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AbstractThe earliest extant depictions of the human face are not simply realistic but represented through specific technologies (means) and techniques (styles). In these representations, the face was probably idealized in order to empower its agency through simulacra. The history of art sees humans become increasingly aware of the impact of technology and technique on the production of visual representations of the face. With photography, and even more so with its digital version, technology is developed, hidden, and miniaturized so as to democratize and market technique. The result, however, a naturalization of technology, is increasingly problematic in the era of algorithms: artificial intelligence absorbs the social bias of its engineers. This is particularly evident in the domain of “digital cosmetics”: successful apps are used to process and share billions of facial images, yet few critically reflect on the aesthetic ideology underpinning them. This is an urgent task for visual, social, and cultural semiotics.

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Kennedy, Hailey, i Hugh McKenzie. "Art and Archaeology". Pathways 4, nr 1 (30.12.2023): 27–44. http://dx.doi.org/10.29173/pathways50.

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Observational skills provide the foundation for both drawing and archaeological techniques. Drawing was frequently employed within archaeology as a recording technique or to produce technical illustrations for published academic papers. However, in recent years the widespread use and adoption of digital photography and 3D imagery has resulted in a decline of its use and such skills are now only briefly considered in archaeological teaching as practical and worthwhile endeavors. This paper considers the role drawing can have within archaeology and suggests that drawing is a useful tool to aid in critical observation. With the integration of specialist interviews, an art workshop experiment was created. This workshop experiment was created to explore drawing as a learning technique in which to aid in developing the observational skills of undergraduate archaeology students. The results of this study suggest that drawing is a useful mode of observation, one that enables researchers to gain a deeper understanding of what they observe, that it can be used to see.

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Sookkaew, Jirawat, Phanom Chongkon i Nakarin Chaikaew. "Technology of Digital Art for Adapting Ancient Visual Art Designs". International Journal of Emerging Technology and Advanced Engineering 12, nr 8 (2.08.2022): 125–35. http://dx.doi.org/10.46338/ijetae0822_16.

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Visual arts, design, and the creation of visual arts have been beginning along with human life for a long time. They have evolved in parallel together. The creation of human visual art is driven by inspiration and driven and taken to be a visual artwork. Creating digital art is a prevalent tool in today's era. It is a creative art technique that combines digital technology and the creation of visual artworks together. Bringing the cultural value of art that is the heritage of our ancestors who have created art that is considered valuable for future generations by using digital art for inheritance. It is also considered another method of transmitting, disseminating, and bringing the values of these cultural arts and cultures to be able to be inherited and passed on to the next era

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Chu, Zichen, i Bo Han. "Digital Engraving Digital Art Design Analysis Based on Spatial Expression Techniques". International Journal of Communication Networks and Information Security (IJCNIS) 15, nr 2 (21.09.2023): 143–58. http://dx.doi.org/10.17762/ijcnis.v15i2.6087.

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Aiming at the problems of poor transmission effect and serious data loss in digital engraving, this paper puts forward a digital modeling model from the perspective of spatial expression. First, in-depth analysis of the original digital art design can not solve the problem of digital carving accuracy, and analysis of the reasons for the poor calculation accuracy of digital carving. Using wireless network technology and WIFI technology to obtain digital information of digital engraving, through the Internet design scheme statistics, according to the digital features to judge the form and result of engraving, remove irrelevant spatial information. Then, according to the Internet data monitoring, the change rate and engraving method of the engraving data are calculated, and compared with the actual engraving requirements, the parameters and indicators of digital art design are adjusted. MATLAB simulation test analysis shows that in the case of wireless communication and Internet monitoring, the digital engraving model of spatial expression technique can improve the accuracy of artistic design, and the accuracy rate is greater than the actual design requirements. According to the design requirements of different wireless networks and network communications, the time and compliance rate of digital engraving can meet the needs of artistic design.

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Akgun, B. Tevfik. "The Digital Art of Marbled Paper". Leonardo 37, nr 1 (luty 2004): 49–52. http://dx.doi.org/10.1162/002409404772828120.

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The author describes his development of a computer-based paper-marbling tool, based on a traditional Turkish art form in which marbled-paper figures and patterns are created on the surface of a liquid bath. Similar works can be obtained by simulating fluid flows on a computer, using the Navier-Stokes equations as the physical model of the fluid flows. The author has created an application program that includes marbling tools. Such a program must run in real time, so that hand-eye coordination is required of the user. Real-time simulation of fluid flows requires much processor power. The author has attempted to adapt this technique for use with a personal computer. To decrease the processing power required, the image size may be decreased, but the results may not be as satisfactory

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López-Menchero Bendicho, Víctor Manuel, Ángel Marchante Ortega, Matthew Vincent, Ángel Javier Cárdenas Martín-Buitrago i Jorge Onrubia Pintado. "Uso combinado de la fotografía digital nocturna y de la fotogrametría en los procesos de documentación de petroglifos: el caso de Alcázar de San Juan (Ciudad Real, España)". Virtual Archaeology Review 8, nr 17 (26.07.2017): 64. http://dx.doi.org/10.4995/var.2017.6820.

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For decades, the documentation of rock art has been the backbone of the research on this cultural practice. However, traditional techniques used for this purpose have proved to be imprecise and subjective. With the advent of the digital age there has been a revolution in the field of rock art documentation in general and in particular for petroglyphs. Techniques such as digital nightlight photography or three-dimensional (3D) photogrammetry have opened a world of possibilities. In the case of nightlight photography, its use goes back to the second half of the 20th century. However, in recent years the emergence of high-power digital cameras along with new lighting systems unthinkable decades ago, such as tactical flashlights, have rejuvenated a technique that seems incombustible. After the numerous tests carried out by the DIPAR (Integral Rock Art Documentation System) project team, it has become evident that, correctly employed, this technique still has immense potential in the field of rock art documentation, especially if we take into consideration its low cost and ease of use. Photogrammetry, on the other hand, is shown as the perfect complement to the records obtained through digital nightlight photography. The possibility of applying filters or shaders that increase the visibility of the digitized petroglyphs, within a metric scheme, is a great advance in their documentation. This paper explores the advantages associated with these techniques with a case study: unpublished petroglyphs of Alcázar de San Juan (Spain).

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Rozprawy doktorskie na temat "Digital art Technique"

Mitchell, Joanne. "Precision air entrapment through applied digital and kiln technologies : a new technique in glass art". Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/8548/.

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The motivation for the research was to expand on the creative possibilities of air bubbles in glass, through the application of digital and kiln technologies to formulate and control complex air entrapment, for new configurations in glass art. In comparison to glassblowing, air entrapment in kiln forming glass practice is under-developed and undocumented. This investigation has devised new, replicable techniques to position and manipulate air in kiln-formed glass, termed collectively as Kiln-controlled Precision Air Entrapment. As a result of the inquiry, complex assemblages of text and figurative imagery have been produced that allow the articulation of expressive ideas using air voids, which were not previously possible. The research establishes several new innovations for air-entrapment in glass, as well as forming a technical hypotheses and a practice-based methodology. The research focuses primarily on float glass and the application of CNC abrasive waterjet cutting technology; incorporating computer aided design and fabrication alongside more conventional glass-forming methods. The 3-axis CNC abrasive waterjet cutting process offers accuracy of cut and complexity of form and scale, across a flat plane of sheet glass. The new method of cleanly fusing layered, waterjet-cut float glass permits the fabrication of artwork containing air entrapment as multilayered, intricate groupings and composite three-dimensional void forms. Kiln-controlled air entrapment presents a number of significant advantages over conventional glassblowing techniques of air entrapment which are based around the decorative vessel or solid spheroid shaped on the blowing iron. The integration of digital and traditional technologies and the resulting technical glassmaking discoveries in this research advance potential new contexts for air entrapment, in sculptural and architectural glass applications. Contexts include solid sculptures which explore the internal space of glass, to flat-plane panels and hot glass roll-up processes which take air entrapment beyond the limitations of its previous incarnations. The creative potential of Kiln-controlled Precision Air Entrapment for glass art is demonstrated through the development of a body of artworks and their dissemination in the field of practice. Documentation of the findings in the thesis has resulted in a 3 significant body of knowledge which opens up new avenues of understanding for academics, creative practitioners and professionals working with glass.

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Ke, Lijia. "Relating tradition to innovation within the Chinese arts : the application of digital technique to visual art". Thesis, University of West London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516337.

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Wolin, Martin Michael. "Digital high school photography curriculum". CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2414.

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The purpose of this thesis is to create a high school digital photography curriculum that is relevant to real world application and would enable high school students to enter the work force with marketable skills or go on to post secondary education with advanced knowledge in the field of digital imaging.

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Thoisy, Eric de. "La maison du cyborg : apprendre, transmettre, habiter un monde numérique". Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080019.

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Le contexte numérique, à comprendre dans sa double dimension technique et culturelle, produit des nouvelles relations au savoir ; la tradition « livresque » de transmission d’un contenu explicite laisse place à un régime documentaire revalorisant la capacité de l’usager à se saisir d’un système inachevé. Les architectures conçues pour l’apprentissage sont, dans ce contexte, remises en question.Une analyse des relations entre architecture et informatique dans les dernières décennies apporte des éléments de compréhension : l’architecture a été prise comme modèle pour construire l’environnement informatique et, au-delà des emprunts sémantiques, c’est sa responsabilité – la prise en charge de la mémoire – qui semble avoir été déplacée vers l’(architecture) informatique. Le modèle du « théâtre de la mémoire », immobilisant son occupant pour lui donner à voir une signification prédéterminée du monde, s’est alors vu concurrencé par d’autres pensées organisant le déplacement et l’apprentissage.Mais cette grille de lecture est insuffisante, et la problématique est à reformuler dans le cadre proposé par Alan Turing. Le modèle computationnel, mis en relation avec le système logique de Ludwig Wittgenstein, produit des relations renégociées entre calcul et pensée, entre humain et machine. Dans un monde co-occupé par des machines apprenantes, les pratiques de l'apprentissage sont reformulées dans un rapport renouvelé entre un modèle et son usage. Surtout, le déplacement numérique de la notion de signification – de l’explicite vers l’implicite – pourrait constituer alors une fondation pour proposer quelques hypothèses constitutives d’une pensée numérique de l’architecture
The digital context, understood as both a technical and a cultural phenomenon, produces new relationships to knowledge. The “bookish” paradigm of transmission is being challenged by documentary practices enabling the user to take hold of an uncompleted knowledge structure. Within this framework, there is a strong need for reevaluating physical buildings conceived for learning.The situation can be apprehended by looking at the interactions between architecture and computer sciences during the last decades. Architecture was taken as a model to build the virtual environment and, most importantly, we believe that the historical responsibility of architecture – taking charge of memory – was displaced towards (computer) architecture. But this shift does not replicate the pattern of « the theater of memory » that organizes the transfer of a set of predetermined meanings into the mind of a sedentary inhabitant. Instead, incoming models foster movement and learning.The hypothesis of a « digital caesurae » requires then a further reading : the problematic needs to be rephrased within the computational framework built by Alan Turing. We have chosen to embed our argument into Ludwig Wittgenstein’s logical system in order to disclose the main features of the computational thinking : renewed relations between thinking and calculating, between human and machine. Learning relies on a new kind of balance between the logical model and the use we make of it. Most of all, we will focus on the shift of the concept of meaning, from an explicit existence to an implicit one : this may constitute a relevant « foundation » to build hypotheses for a digital thinking of architecture

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Meintjes, Anthony Arthur. ""From digital to darkroom"". Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1007418.

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Milton-Smith, Melissa. "A conversation on globalisation and digital art". University of Western Australia. Communication Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0057.

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Globalisation is one of the most important cultural phenomena of our times and yet, one of the least understood. In popular and critical discourse there has been a struggle to articulate its human affects. The tendency to focus upon macro accounts can leave gaps in our understanding of its micro experiences.1 1 As Jonathon Xavier Inda and Renato Rosaldo argue there is a strong pattern of thinking about globalisation 'principally in terms of very large-scale economic, political, or cultural processes'. (See: Jonathon Xavier Inda and Renato Rosaldo (Eds.), The Anthropology of Globalisation: A Reader, Malden, Blackwell Publishing, 2002, p. 5.) In this thesis, I will describe globalisation as a dynamic matrix of flows. I will argue that globalisation's spatial, temporal, and kinetic re-arrangements have particular impacts upon bodies and consciousnesses, creating contingent and often unquantifiable flows. I will introduce digital art as a unique platform of articulation: a style borne of globalisation's oeuvre, and technically well-equipped to converse with and emulate its affects. By exploring digital art through an historical lens I aim to show how it continues dialogues established by earlier art forms. I will claim that digital art has the capacity to re-centre globalisation around the individual, through sensory and experiential forms that encourage subjective and affective encounters. By approaching it in this way, I will move away from universal theorems in favour of particular accounts. Through exploring a wide array of digital artworks, I will discuss how digital art can capture fleeting experiences and individual expressions. I will closely examine its unique tools of articulation to include: immersive, interactive, haptic, and responsive technologies, and analyse the theories and ideas that they converse with. Through this iterative process, I aim to explore how digital art can both facilitate and generate new articulations of globalisation, as an experiential phenomenon.

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Jacobs, Bidhan. "Vers une esthétique du signal. Dynamiques du flou et libérations du code dans les arts filmiques (1990-2010)". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030089.

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Au cours de la décennie 1990, l'introduction puis l’expansion accélérée du numérique par les industries techniques ont favorisé le développement dans les arts filmiques d’un courant critique spontané et collectif portant sur le signal. Nous élaborons une histoire des techniques et des formes esthétiques critiques du signal, en faisceaux de segments, selon une taxinomie qui prolonge le structuralisme matériologique des années 70 (Malcolm Le Grice, Peter Gidal, Paul Sharits, Anthony McCall). Cette histoire embrasse et met en perspective cinéma, vidéo et numérique, de manière à réorganiser nos conceptions distinctes de ces champs selon le domaine des sciences (duquel dépendent détection, codification et visualisation du signal). Nous proposons une histoire des techniques à rebours sous l’angle particulier de la computation du signal, processus systématique commun à l’ensemble des technologies filmiques et entendu comme un ensemble de règles opératoires propres à un traitement calculatoire de données. Dans la double tradition d’une part de Jean Epstein, Marcel L’Herbier ou Jean Renoir, et de l’autre du structuralisme expérimental (Paul Sharits, Malcolm Le Grice…), de nombreux artistes contemporains, tels Paolo Gioli, Philippe Grandrieux, Peter Tscherkassky, Marylène Negro, Leighton Pierce, Augustin Gimel, Jacques Perconte ou HC Gilje (pour n’en mentionner que quelques uns), ont élaboré une intelligence du signal grâce à deux entreprises critiques simultanées. La première, au registre du dispositif, conteste la technologie programmante et vise les libérations du code ; la seconde, au registre de l’image, conteste les normes de visualité et enrichit les palettes visuelles et sonores du flou. Nous tentons d’établir, formuler et organiser les logiques qui, traversant et déterminant la diversité des initiatives artistiques dont nous observons les spécificités et singularités, relèvent d’un même combat artistique contre la standardisation
During the 90s, with the introduction, then accelerated expansion of digital by the technical industries, has promoted the development of a spontaneous and collective critical current on the signal in the filmic arts. We develop a history of technics and critical aesthetic forms of signal, in beam segments, according to a taxinomy that extends the 70s’ materiologic structuralism (Malcolm le Grice, Peter Gidal, Paul Sharits, Anthony McCall). This history embrace film, video and digital, to reorganize our different conceptions of these fields according to the scientific viewpoint (which detection, codification and display of the signal depend on). We propose a backward technological history from the viewpoint of the signal computation, a systematic process common to all filmic technologies, and understood as a set of operating rules specific to computational data processing.In the double tradition, first of Jean Epstein, Marcel L'Herbier or Jean Renoir, on the other hand experimental structuralism (Paul Sharits, Malcolm Le Grice...), many contemporary artists such as Paolo Gioli, Philippe Grandrieux Peter Tscherkassky, Marylène Negro, Leighton Pierce, Augustin Gimel, Jacques Perconte or HC Gilje (just to mention a few) has developed a signal intelligence thanks to two simultaneous critical enterprises. The first, on the register of the apparatus, challenges the programming technology and aims the liberation of the code ; the second, on the register of the image, challenges the norms of the visuality and expand the visual and sound palettes of blur. We try to formulate and organize the logics which, crossing and determining the diversity of artistic initiatives whom we observe specificities and singularities, belong to the same artistic battle against standardization

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McQuade, Patrick John Art College of Fine Arts UNSW. "Visualising the invisible :articulating the inherent features of the digital image". Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43307.

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Contemporary digital imaging practice has largely adopted the visual characteristics of its closest mediatic relative, the analogue photograph, In this regard, new media theorist Lev Manovich observes that "Computer software does not produce such images by default. The paradox of digital visual culture is that although all imaging is becoming computer-based, the dominance of photographic and cinematic imagery is becoming even stronger. But rather than being a direct, "natural" result of photo and film technology, these images are constructed on computers" (Manovich 2001: 179), Manovich articulates the disjuncture between the technical processes involved in the digital image creation process and the visual characteristics of the final digital image with its replication of the visual qualities of the analogue photograph. This research addresses this notion further by exploring the following. What are the defining technical features of these computer-based imaging processes? Could these technical features be used as a basis in developing an alternative aesthetic for the digital image? Why is there a reticence to visually acknowledge these technical features in contemporary digital imaging practice? Are there historic mediated precedents where the inherent technical features of the medium are visually acknowledged in the production of imagery? If these defining technical features of the digital imaging process were visually acknowledged in this image creation process, what would be the outcome? The studio practice component of the research served as a foundation for the author's artistic and aesthetic development where the intent was to investigate and highlight four technical qualities of the digital image identified through the case studies of three digital artists, and other secondary sources, These technical qualities include: the composite RGB colour system of the digital image as it appears on screen; the pixellated microstructure of the digital image; the luminosity of the digital image as it appears on a computer monitor, and the underlying numeric and (ASCII based) alphanumeric codes of the image file which enables that most defining feature of the image file, that of programmability, Based on research in the visualization of these numeric and alphanumeric codes, digital images of bacteria produced through the use of the scanning electron microscope, were chosen as image content for an experimental body of work to draw the conceptual link between these numeric and alphanumeric codes of the image file and the coded genetic sequence of an individual bacterial entity.

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Ge, He. "Flexible Digital Authentication Techniques". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5277/.

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Abstract This dissertation investigates authentication techniques in some emerging areas. Specifically, authentication schemes have been proposed that are well-suited for embedded systems, and privacy-respecting pay Web sites. With embedded systems, a person could own several devices which are capable of communication and interaction, but these devices use embedded processors whose computational capabilities are limited as compared to desktop computers. Examples of this scenario include entertainment devices or appliances owned by a consumer, multiple control and sensor systems in an automobile or airplane, and environmental controls in a building. An efficient public key cryptosystem has been devised, which provides a complete solution to an embedded system, including protocols for authentication, authenticated key exchange, encryption, and revocation. The new construction is especially suitable for the devices with constrained computing capabilities and resources. Compared with other available authentication schemes, such as X.509, identity-based encryption, etc, the new construction provides unique features such as simplicity, efficiency, forward secrecy, and an efficient re-keying mechanism. In the application scenario for a pay Web site, users may be sensitive about their privacy, and do not wish their behaviors to be tracked by Web sites. Thus, an anonymous authentication scheme is desirable in this case. That is, a user can prove his/her authenticity without revealing his/her identity. On the other hand, the Web site owner would like to prevent a bunch of users from sharing a single subscription while hiding behind user anonymity. The Web site should be able to detect these possible malicious behaviors, and exclude corrupted users from future service. This dissertation extensively discusses anonymous authentication techniques, such as group signature, direct anonymous attestation, and traceable signature. Three anonymous authentication schemes have been proposed, which include a group signature scheme with signature claiming and variable linkability, a scheme for direct anonymous attestation in trusted computing platforms with sign and verify protocols nearly seven times more efficient than the current solution, and a state-of-the-art traceable signature scheme with support for variable anonymity. These three schemes greatly advance research in the area of anonymous authentication. The authentication techniques presented in this dissertation are based on common mathematical and cryptographical foundations, sharing similar security assumptions. We call them flexible digital authentication schemes.

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Rahaim, Margaret. "Material-digital resistance : toward a tactics of visibility". Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1685/.

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This research considers the ways in which digital, networked technologies influence contemporary everyday life and creative practice. Through studio practice and writing, I ask how a contemporary condition of everyday life, characterised by the suppression of distance in speed of communication and the ubiquitous presence of surveillant apparatuses, affects the way we understand and use the image. I also consider the role of the digital image in both destabilizing and reinforcing human agency. In the past, tactical creativity was protected by a level of invisibility from the vision of authority, as described by Michel de Certeau. With the the spread of networked technologies, that invisibility is no longer possible. I take Vilem Flusser’s methodology of ‘playing against the camera’—a recipe for overcoming of the functionalist relationship between human and image technology—as a possible model for establishing my own and identifying other artists’ practices as tactics of visibility. I seek to develop a material consciousness of the digital image based on ontologies that assert the materiality of its processes and effects. In studio work, I blend manual and digital techniques for image-making in order to expose the structure of the digital image. I attempt the work of the apparatus outside the apparatus, by performing digital processes by hand, creating a model of difference and refining a physical sense of the disparity between human and computer scales through the reassertion of the body in a process of making. Using Kendall Walton’s notio of photographic transparency, I make an argument for the affective potency of the ‘poor image’, evidenced in artwork and mass media, as inseparable from its materiality. I fictionalize aspects of this transparency, depicting an impossible reality and allowing me to model present anxieties stemming from the rise of digital image production. I find that transparency and the instantaneity of the digital network are responsible in part for the obfuscation of digital materiality, as well as a confused sense of spatial relationships and personal interconnection. Image quality is politicized by connotations of credibility or agenda as it bends to the need for ever-faster communications. Though certain characteristics of the digital image encourage or sustain an ignorance with regard to its materiality, these characteristics can also be exploited to foreground materiality in art practice that aligns itself with the spirit and purpose, if not the invisibility, of de Certeau’s tactics, and the critical methods of resistance to a programme of technology suggested by Flusser.

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Książki na temat "Digital art Technique"

(Firm), 3Dtotal com, red. Digital painting techniques. Amsterdam: Elsevier, 2009.

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Horovitz, Ellen G. Digital photographer's guide to alternative and mixed media art. New York: Pixiq, 2011.

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1945-, Beardon Colin, i Malmborg Lone, red. Digital creativity: A reader. Lisse, the Netherlands: Swets & Zeitlinger, 2002.

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Naren, Barfield, red. Digital printmaking. New York: Watson-Guptill, 2003.

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Ron, Miller. Digital art: Painting with pixels. Minneapolis: Twenty-First Century Books, 2008.

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Gosney, Michael. The Verbum book of digital painting. Redwood City, Calif: M&T Pub., 1990.

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Hullfish, Steve. The art and technique of digital color correction. Amsterdam: Elsevier, 2008.

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Gosney, Michael. The Verbum book of digital painting. Redwood City, Calif: M&T Pub, 1990.

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Borgman, Harry. Digital dreams: Exploring the computer as an art medium. [United States]: Xlibris Corp., 2004.

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Raimes, Jonathan. The digital canvas: Discovering the art studio in your computer. New York: Abrams Studio, 2006.

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Części książek na temat "Digital art Technique"

Hung, Mai Cong, Mai Xuan Trang, Naoko Tosa i Ryohei Nakatsu. "IkebanaGAN: New GANs Technique for Digital Ikebana Art". W Culture and Computing. Interactive Cultural Heritage and Arts, 88–99. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77411-0_7.

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Wang, Qian. "Application of Digital Art Display Technique in Exhibition Space Under Information Background". W Lecture Notes in Electrical Engineering, 65–75. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-4125-0_8.

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Feng, Zhipeng, i Kiyoshi Tomimatsu. "Digital Media Art Utilizing Traditional Animation Digital Video Expression Using Projection Mapping and Multi Screen Technique". W Intelligent Human Systems Integration, 408–13. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-73888-8_63.

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Roy, Ritaban, Indu Joshi, Abhijit Das i Antitza Dantcheva. "3D CNN Architectures and Attention Mechanisms for Deepfake Detection". W Handbook of Digital Face Manipulation and Detection, 213–34. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-87664-7_10.

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AbstractManipulated images and videos have become increasingly realistic due to the tremendous progress of deep convolutional neural networks (CNNs). While technically intriguing, such progress raises a number of social concerns related to the advent and spread of fake information and fake news. Such concerns necessitate the introduction of robust and reliable methods for fake image and video detection. Toward this in this work, we study the ability of state-of-the-art video CNNs including 3D ResNet, 3D ResNeXt, and I3D in detecting manipulated videos. In addition, and toward a more robust detection, we investigate the effectiveness of attention mechanisms in this context. Such mechanisms are introduced in CNN architectures in order to ensure that robust features are being learnt. We test two attention mechanisms, namely SE-block and Non-local networks. We present related experimental results on videos tampered by four manipulation techniques, as included in the FaceForensics++ dataset. We investigate three scenarios, where the networks are trained to detect (a) all manipulated videos, (b) each manipulation technique individually, as well as (c) the veracity of videos pertaining to manipulation techniques not included in the train set.

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Hupont, Isabelle, Eva Cerezo, Sandra Baldassarri i Rafael Del-Hoyo. "Emotracking Digital Art". W Human-Computer Interaction. Advanced Interaction Modalities and Techniques, 739–49. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07230-2_70.

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Michaelis, Dennis, i Karlheinz Ochs. "A Wave Digital Approach Towards Bio-inspired Computing Using Memristive Networks". W Springer Series on Bio- and Neurosystems, 191–218. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-36705-2_8.

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AbstractBio-inspired computing is a promising approach to tackle problems that are too complex for state-of-the-art computing approaches. It is a highly interdisciplinary field of research as it requires expertise, which ranges from understanding biological organisms (psychology, physiology zoology, biology, bio-chemistry) to building electrical circuits (electrical engineering, physics). This chapter focuses on theoretical circuits designs and concepts to abstractly map biological behavior to idealized circuits. We utilize a special digital emulation technique as a tool to digitally replicate circuits and hence bridge the gap from biological behavioral observation to hardware circuit designs. Application examples include parameter optimization of a neuronal oscillator, gait pattern generation, multi-neuron communication, neuroplasticity and optical illusions. The fundamental circuit elemental to realize several bio-inspired circuit designs is the memristor, which is essentially a resistor with a memory. Since memristors are hard to fabricate with the current state of technology, digital emulators are a useful tool to accelerate development cycles and investigate the circuits of the next generation.

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McGuire, Sam, i Zbyněk Matějů. "MIDI techniques". W The Art of Digital Orchestration, 136–65. New York : Routledge, 2020.: Focal Press, 2020. http://dx.doi.org/10.4324/9780429345012-5.

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Murry, Natalie. "The Workspace". W Digital Forensic Art Techniques, 3–23. Boca Raton, FL : CRC Press, [2018]: CRC Press, 2018. http://dx.doi.org/10.4324/9781351047166-1.

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Murry, Natalie. "Adding Photographic Elements to a Composite". W Digital Forensic Art Techniques, 167–85. Boca Raton, FL : CRC Press, [2018]: CRC Press, 2018. http://dx.doi.org/10.4324/9781351047166-10.

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Murry, Natalie. "Postmortem Drawing". W Digital Forensic Art Techniques, 189–208. Boca Raton, FL : CRC Press, [2018]: CRC Press, 2018. http://dx.doi.org/10.4324/9781351047166-11.

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Streszczenia konferencji na temat "Digital art Technique"

Choi, Jin Woo, Tae Min Kim i Taeg Keun Whangbo. "A Study on Estimation Technique of Extreme Precipitation Diameter". W Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2016. Science & Engineering Research Support soCiety, 2016. http://dx.doi.org/10.14257/astl.2016.125.16.

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Lee, Samsik, i Hyojin Choi. "Transition of Fertility Practice: Measurement Using Demographic Technique of Parity Progression Ratio". W Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.101.22.

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Lee, Haenghwa, Sunghoon Choi, Byungdu Jo, Hyemi Kim, Donghoon Lee, Dohyeon Kim, Seungyeon Choi, Youngjin Lee i Hee-Joung Kim. "Performance evaluation of algebraic reconstruction technique (ART) for prototype chest digital tomosynthesis (CDT) system". W SPIE Medical Imaging, redaktorzy Thomas G. Flohr, Joseph Y. Lo i Taly Gilat Schmidt. SPIE, 2017. http://dx.doi.org/10.1117/12.2255647.

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Carrión-Ruiz, Berta, Silvia Blanco-Pons i Jose Luis Lerma. "DIGITAL IMAGE ANALYSIS OF THE VISIBLE REGION THROUGH SIMULATION OF ROCK ART PAINTINGS". W ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3560.

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Non-destructive rock art recording techniques are getting special attention in the last years, opening new research lines in order to improve the level of documentation and understanding of our rich legacy. This paper applies the principal component analysis (PCA) technique in images that include wavelengths between 400-700 nm (visible range). Our approach is focused on determining the difference provided by the image processing of the visible region through four spectral images versus an image that encompasses the entire visible spectrum. The images were taken by means of optical filters that take specific wavelengths and exclude parts of the spectrum. Simulation of rock art is prepared in laboratory. For this purpose, three different pigments were made simulating the material composition of rock art paintings. The advantages of studying the visible spectrum in separate images are analysed. In addition, PCA is applied to each of the images to reduce redundant data. Finally, PCA is applied to the image that contains the entire visible spectrum and is compared with previous results. Through the results of the four visible spectral images one can begin to draw conclusions about constituent painting materials without using decorrelation techniques.

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Nahún Quintero Milián, Héctor, Nora Argelia Aguilera, Pablo Guillermo Ramírez Flores i Samira Hosseini. "Synergy of digital art, architecture and design using video-mapping in a combined classroom". W The 5th International Conference on Virtual and Augmented Reality in Education. CAL-TEK srl, 2019. http://dx.doi.org/10.46354/i3m.2019.vare.001.

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"Technological advances within educational domains permit new teaching systems to emerge. Video-mapping is a technique that involves projecting images on threedimensional surfaces through motion effects. In the case of architectural projects, there are very few uses of videomapping that focus on urban planning and even fewer when the mapping is interactive. However, it is crucial to scale new ways of interpreting design using technologies such as video-mapping. In this research work, the themes of virtual environments, spatial representation, and basic design are combined with video-mapping. Students from the Digital Art and Architecture and the Industrial Design programs worked together in this effort, creating an architectural model made with 3D impressions; the users interacted and selected from the options of colors and textures available for the model city, generating different presentations according to the changes in the settings of the video-mapping software. Thus, this project opened the doors to welcome digital artists into the world of architecture and urbanism."

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Meng, Weixuan, Dichao Ying i Guodong Zhang. "Research on the Path and Technique Route of Power Grid Enterprises’ Construction of New Energy-Centred Energy Internet Ecosystem". W Proceedings of the International Conference on Art Design and Digital Technology, ADDT 2022, 16-18 September 2022, Nanjing, China. EAI, 2022. http://dx.doi.org/10.4108/eai.16-9-2022.2324910.

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Huff, Kenneth A., Stefan Müller Arisona, Pascal Mueller i Bernd Lintermann. "Course digital art techniques". W ACM SIGGRAPH 2007 courses. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1281500.1281675.

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Falk, R. Aaron, Neil Bauersfeld, Mark LaPierre i Shawn Elliott. "New Applications of Thermal Laser Signal Injection Microscopy (T-LSIM)". W ISTFA 2003. ASM International, 2003. http://dx.doi.org/10.31399/asm.cp.istfa2003p0025.

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Abstract Thermal laser signal injection microscopy (T-LSIM) (aka TIVA and OBIRCH) has shown considerable promise in stateof- the-art digital integrated circuits. The technique has been utilized to locate shorts, leakage currents, problem vias, and timing issues in these devices. However, little has been published on the utility of this technique for analog and mixed signal devices. In this paper we demonstrate the application of T-LSIM on two different analog devices with defects that conventional FA technology and fault isolation techniques were unable to locate. Analog devices produce several unique challenges to the basic T-LSIM technique as typically utilized in the digital regime. Extensions of the basic T-LSIM technique were utilized to locate the failures, which produced unexpected results. The T-LSIM technique has proved essential in the quick identification and localization of failure sites. The T-LSIM technique provides the failure analyst with the analytical power not previously available on conventional fault isolation tools such as emission microscopy and liquid crystal.

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"[Cover art]". W 2008 Digital Image Computing: Techniques and Applications. IEEE, 2008. http://dx.doi.org/10.1109/dicta.2008.104.

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"Cover Art". W 2011 International Conference on Digital Image Computing: Techniques and Applications (DICTA). IEEE, 2011. http://dx.doi.org/10.1109/dicta.2011.125.

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Raporty organizacyjne na temat "Digital art Technique"

Garvin, Charles G. A Survey of Techniques in Aided Target Recognition (ATR) from Digital and Optical Perspectives. Fort Belvoir, VA: Defense Technical Information Center, lipiec 1991. http://dx.doi.org/10.21236/ada238644.

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Harris, Melissa, i Alexia Pretari. Going Digital – Computer-Assisted Telephone Interviewing (CATI): Lessons learned from a pilot study. Oxfam GB, maj 2021. http://dx.doi.org/10.21201/2021.7581.

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In this sixth instalment of the Going Digital Series, we share our experiences of using computer-assisted telephone interviewing (CATI) software, which was researched and piloted following the outbreak of COVID-19 and the subsequent need for improved remote data collection practices. CATI is a survey technique in which interviews are conducted via a phone call, using an electronic device to follow a survey script and enter the information collected. This paper looks at the experience of piloting the technique in phone interviews with women in Kirkuk Governorate, Iraq.

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Ovalle, Samuel, E. Viamontes i Tony Thomas. Optimization of DLP 3D Printed Ceramic Parts. Florida International University, październik 2021. http://dx.doi.org/10.25148/mmeurs.009776.

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Digital Light Processing (DLP) 3D printing allows for the creation of parts with advanced engineering materials and geometries difficult to produce through conventional manufacturing techniques. Photosensitive resin monomers are activated with a UV-producing LCD screen to polymerize, layer by layer, forming the desired part. With the right mixture of photosensitive resin and advanced engineering powder material, useful engineering-grade parts can be produced. The Bison 1000 is a research-grade DLP printer that permits the user to change many parameters, in order to discover an optimal method for producing 3D parts of any material of interest. In this presentation, the process parameter optimization and their influence on the 3D printed parts through DLP technique will be discussed. The presentation is focused on developing 3D printable slurry, printing of complex ceramic lattice structures, as well as post heat treatment of these DLP-produced parts.

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Onikzeh, Parinaz, Afshin Heidari, Aida Kazemi, Parisa Najjariasl, Kamran Dalvandi, Hamidreza Sadeghsalehi i Hadi Zamanian. 3D photography versus digital planimetry in wound measurement : a systematic review protocol. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, październik 2021. http://dx.doi.org/10.37766/inplasy2021.10.0069.

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Review question / Objective: The aim of this study is to find whether there is concordance between two methods of wound area measurement: 3D photography and digital planimetry. Condition being studied: One of the most important factors in all types of wound management is wound measurement and two new digital techniques are : digital planimetry and 3D-photography. Eligibility criteria: the articles will be included only if the study cases would be measured by both methods of wound measurement including 3D photography and digital planimetry. patients with wound in any area of their body like diabetic ulcers, venous ulcers or burning. not models or animals.not bite or scar or bruising. without any restriction in age or gender.

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Mills, Kathy, Elizabeth Heck, Alinta Brown, Patricia Funnell i Lesley Friend. Senses together : Multimodal literacy learning in primary education : Final project report. Institute for Learning Sciences and Teacher Education, Australian Catholic University, 2023. http://dx.doi.org/10.24268/acu.8zy8y.

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[Executive summary] Literacy studies have traditionally focussed on the seen. The other senses are typically under-recognised in literacy studies and research, where the visual sense has been previously prioritised. However, spoken and written language, images, gestures, touch, movement, and sound are part of everyday literacy practices. Communication is no longer focussed on visual texts but is a multisensory experience. Effective communication depends then on sensory orchestration, which unifies the body and its senses. Understanding sensory orchestration is crucial to literacy learning in the 21st century where the combination of multisensory practices is both digital and multimodal. Unfortunately, while multimodal literacy has become an increasing focus in school curriculum, research has still largely remained focussed on the visual. The Sensory Orchestration for Multimodal Literacy Learning in Primary Education project, led by ARC Future Fellow Professor Kathy Mills, sought to address this research deficit. In addressing this gap, the project built an evidence base for understanding how students become critical users of sensory techniques to communicate through digital, virtual, and augmented-reality texts. The project has contributed to the development of new multimodal literacy programs and a next-generation approach to multimodality through the utilisation of innovative sensorial education programs in various educational environments including primary schools, digital labs, and art museums.

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Esteban Regino, Edna Margarita, José David Torrenegra Ariza i Enrique Carlos Urzola Mestra. Use of Design Thinking to Generate Ideas for Digital, Social, and Solidarity Entrepreneurship. Ediciones Universidad Cooperativa de Colombia, grudzień 2022. http://dx.doi.org/10.16925/gcnc.43.

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This class note helps to develop skills that enable students to generate ideas of digital, social, and solidarity entrepreneurship from identifying social problems. It begins by emphasizing the need to promote digital, social, and supportive entrepreneurship. Then it defines social problems that are articulated with the national legal framework and the sustainable development goals (SDGs). Next, it describes the business idea as an opportunity to solve a social problem, working throughout the process under the Design Thinking methodology. This technique is focused on creativity and is used strongly for problem-solving, business modeling, strategic planning, and idea development, allowing for innovation in many aspects focused on the user. This approach helps to identify what people need and want, as well as what they like or dislike. Finally, the learning unit’s product is explained, which must be a technical sheet that reflects the use of the Design Thinking methodology as a strategy for obtaining business ideas. Through these contents, students develop the competence to analyze social problems, generate ideas of digital, social, and solidarity entrepreneurship that are aligned with existing policies and the SDGs.

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Papí-Gálvez, Natalia, i Daniel La Parra-Casado. Informe 2022. Càtedra de Bretxa Digital Generacional. Les persones majors en l’era de la digitalització a la Comunitat Valenciana (Dades 2021). Càtedra de Bretxa Digital Generacional, 2022. http://dx.doi.org/10.14198/bua.2022.papi.infv.

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The Research Chair in the Generational Digital Divide undertakes activities aimed at furthering knowledge about the causes, consequences and solutions to the digital divides caused by age gaps. This report shows the research project carried out in 2021 to learn more about how the digital divide affects over 54s living in the Valencia Region, by province, with a focus on intergenerational relationships. To this end, an exploratory survey targeted at over 54s years old and over 39s years old in the Valencia Region, based on primary sources and combining quantitative and qualitative techniques, has been conducted. The data reveals that, while a large percentage of over 54s declare that they have access to and are users of new technologies, much remains to be done for access and usage to become universal, especially at older ages. The report analyses how technology is used, considering its purpose and context, according to age and other significant variables. Differences in technology usage have been found across age groups and between women and men. The report contains information on, among other relevant aspects, online services, and especially on e-banking, the healthcare system and e-administration. Differences between age groups have been found for all indicators, shedding light on intergenerational relationships within the family that are crucial for older people. The Research Chair is an initiative by the Valencia Region Government’s Directorate General for the Fight Against the Digital Divide and stems from the collaboration between the Regional Department for Innovation, Science, Universities and Digital Society and the University of Alicante.

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Papí-Gálvez, Natalia, i Daniel La Parra-Casado. Informe 2022. Cátedra de Brecha Digital Generacional. Las personas mayores en la era de la digitalización en la Comunidad Valenciana (datos 2021). Cátedra de Brecha Digital Generacional, 2022. http://dx.doi.org/10.14198/bua.2022.papi.infc.

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Patel, Yusef. File to Factory: A case study of automated prefabrication house-building methods for small-to-medium enterprises. Unitec ePress, grudzień 2017. http://dx.doi.org/10.34074/ocds.0823.

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The Eco-Digital Fabrication (EDFAB) research project aimed to investigate how automated prefabrication technologies and off-the-shelf construction products can be employed to disrupt building industry norms. The aim of this research – conducted at the University of Auckland and Unitec Institute of Technology from 2014 onward – was to provide small-to-medium enterprises in the construction industry with a pathway to upskill and increase construction productivity through the use of these processes. The availability of automated machines and easy-to-use fabrication software is increasing dramatically and this can be paired with readily available construction products to produce novel mass-customised housing solutions. The application of basic automated technologies – such as CNC (Computer Numerical Control) routers – allowed researchers to create ‘recipes’ that can be adopted and adapted relatively easily. By no means did the research favour digital manufacture or assembly processes over traditional analogue construction techniques – the goal was to provide logical, productive and accessible blended solutions for greater affordability and flexibility in design. For example, the designed experiments were required to be built from readily available products, and used simple readymade screw fixings rather than digitally produced custom fixings or joining mechanisms. The research project aimed to generate discussion and provide recommendations on how the construction industry might support the adoption of automated prefabrication technology in small-to-medium enterprise (SME).

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Alemu, Nahom Eyasu. Zooming into the Barriers and Motivations of the Ethiopian University Instructors for Designing and Delivering Content Online: An Institutional Case Study of the University of Gondar. Mary Lou Fulton Teachers College, luty 2024. http://dx.doi.org/10.14507/mcf-eli.i1.

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Over the last two decades, the educational field of study has been one of the areas that benefited from the proliferated use of digital technologies. Recent digital technologies in education have focused on online education in developed nations. However, they have paid less attention to the involvement of university instructors in online education in developing countries. Therefore, the current project tried to address this problem by examining the challenges and prospects of instructors in designing and developing content online in Ethiopia's public universities. This study involved 59 participants (15 semi-structured interviews, 32 participants in four focus group discussions, and 12 key informants), derived using a purposive sampling technique. Data were analyzed using inductive thematic analysis to explore participants’ explanations about the impediments and motivation of university instructors in designing and developing content online at the University of Gondar, Ethiopia. Explanations were presented in terms of impediments (the state of being faced with the challenges of university instructors) and motivation (the determination of instructors in higher education). The findings showed that the challenges of instructors can be classified as personal (technophobia, digital illiteracy, bad impression of content online, fear of making low-quality content, and lack of knowledge on how to produce content online) and institutional (insufficient infrastructure, absence of curriculums and policies on eLearning education. On the other hand, the prospects of instructors, such as taking eLearning education initiative, online education support services, and boosting awareness of online education, are the facilitators for instructors in developing content online in higher education.

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