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Holder, John Frans Patrick. "Immersive, digital, expressive, art". Thesis, University of East London, 2011. http://roar.uel.ac.uk/3137/.
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Ever since I can remember I have been obsessed with alternate realities of one form or another: be it creating a graphical fantasy computer game in the mid 1980's; or as an engineer in rooms full of mainframe computers with their invisible layers of data being interrogated and processed, to more recently creating places that people would explore and spend time in Virtually', such as three dimensional social environments and rich-media websites. Despite a background in creative design and computing as engineer, designer, and media creative, my artistic mind always seems to be thinking in abstract ways about the reality that we inhabit and how that might be expressed, this remains a constant source of inspiration. Employment typically constrained me to a company's requirements, so it was quite rare for me to find enough time to focus completely on developing my personal artistic practice. Embarking on the professional doctorate has changed this over the course of the last 5 years, as I find it a platform from which to explore and evolve my own personal creative practice. I began exhibiting locally in the studio and at University, and through people that viewed my artwork I was invited to exhibit a piece in Athens. This formed part of a group show and my piece received positive media coverage, which led to a place on a prestigious programme later that year in Athens called 'e- MobilArt'. Its aim was to encourage international collaborative art projects, and this would lead to a major exhibitions over the following years. Two collaborations ensued, and as well as creating them in London I travelled to Finland and Austria in order to pursue their development. Through the University of Athens, I was invited to exhibit one of these pieces at a major exhibition, The 2nd Biennale of Contemporary Art, Thessaloniki, this elicited a further invitation to exhibit my other collaborative artwork in Poland at the impressive Rondo Stzuki Art Gallery. After this creative period and exhibitioning I critically reflected upon my pieces and decided I was not satisfied with the installations or their interactive elements, and considered how these elements might be revisited, as their complexity had grown considerably during the collaborative process. At this time a tutorial with my supervisor confirmed that I should look at simplifying future work, thus allowing the audience greater freedom in their interpretation of the piece. After long periods in the studio I realised that my critical thinking had focussed on creative expression that was heavily influenced by several factors and their combination thereof; Interaction, Interface and Immersion. In this document I discuss how the interfaces that allow participants to interact can differ and how that affects the experience; how interaction may be physical or sensory, and what that might mean to the audience or participant, and how the immersion is integral to the participant's experience and may be sensorial and/or narrative based. Since these revelations in how I think about my work, I have created work that utilised unfamiliar (at least to me) and forms of interaction, whilst stripping away complexity, and now I am putting greater emphasis on the experience through relational concepts. Ultimately the work is evolving to become far more about my self-expression and far less about audience constriction of thought.
2
Bergman, John. "IMMERSIVE GALLERY OF DIGITAL ART". Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.
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Kavanaugh, Anya. "Effectiveness of Digital Response Art". Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/905.
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This study looks at the effectiveness of digital media to create response art and deepen attunement with adolescent clients as well as develop self-awareness in the therapist. An arts- based qualitative heuristic self-study was used to analyze data gathered over a six-week period. The subject was the researcher/therapist and the data was gathered during the second-year practicum while working with adolescents at a non-public school. Data was gathered through a process of creating two post-session response artworks using video, animation, or digital drawing and a written reflection for each artwork. Nine artworks and eight written reflections were created in total. The data was analyzed using a phenomenological lens and a digital art therapy lens. Certain themes, such as use of color, rhythm and pace, self as subject, client process, progression of affect, management of environment, and representation of containment were analyzed. These themes revealed a high probability for digital media to assist in deepening attunement with an adolescent client and a more limited chance of development of self- awareness.
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Jones, Benjamin David. "Digital butterflies of the backstreets : participatory art and the digital divide". Thesis, University of Newcastle upon Tyne, 2015. http://hdl.handle.net/10443/3063.
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Through this practice-based research I interrogate the terms community art, activism, social and digital media, as well as community and place. It is an investigation into both theoretical and practical aspects of community art practice and its connection to national and local policies on community, arts and digital media. It considers the increasing role digital technology and social media have in communities and community organisations, in particular under the guise of austerity, and how community organisations (do not) use social media and digital technology to encourage participation. It considers my position and role as an artist, curator and resident within the community that I live in and how, through becoming active and engaged with the place, I can develop a strategy for sustainable and long-term social engagement. This practice based Ph.D. takes as a starting point the stalled housing regeneration, due to the halting of the Housing Market Renewal Pathfinder, in the community where I live. The research builds upon my experience of working as an artist, curator and arts educator since the turn of the millennium where, under consecutive governments the purpose of contemporary art and its educational use has either been to effect social change (New Labour) or its economic value (current coalition government). Through the creation of a series of participatory and digital engagement events and workshops the research interrogates and considers the connections and conflict between the ‘physical’ (public space) and the digital and supposedly ‘open’ (the online). The research will be of use to those who feel an increasing and urgent need to engage with their own community as practitioners as well as community members.
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Edström, Jesper, i Nicky Ristic. "Digital art recommendation system : A personalized virtual tour of digital collections". Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-449497.
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The purpose of this project is to create a website with a React-based prototype recommendation system of a large cultural collection. The aim of the website is to provide a function that allows a user to upload an image to which the system consequently recommends correlating artwork from the publicly available collection of the Metropolitan Museum of Modern Art (MET). The correlation coefficient between the uploaded image and the artworks from (MET) is acquired through Pearson Correlation. Furthermore the artwork with the highest correlation to the uploaded picture is shown first, then each subsequent artwork is shown in order of highest correlation. The main challenge for building this prototype was to combine the different components together with JavaScript and the REACT framework. The recommendation engine demands numerical representations of these artworks, and most effort was given to the automatic conversion of photos of artworks into a proper format for the recommendation engine.
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Casbarro, Shaun M. "Experimental digital printing methods". Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1265100.
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Computer prints have long been viewed as final products. All the work was traditionally completed on the computer then printed as final output, without alteration or adaptation. Unlike other forms of fine arts printing (photo or printmaking) there are no chemical alterations or multiple printing procedures. I have used this exploration to experiment with numerous approaches to digital printing. Several artists have inspired my work, both in approach and technique. Those artists include Robert Rauschenberg, David Hockney, and Man Ray. This creative project is both an experiment in creative printing techniques and the aesthetic creation of experimental works of digital art.The purpose of this project is to explore and experiment with techniques and practices that will push my own digital work to new levels, and open areas of further study for myself and other digital artists.Department of Art
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Christiansen, Lauren. "Redefining exhibition in the digital age /". This body of writing is available online with supplemental images, 2010. http://exhibitioninthedigitalage.tumblr.com/.
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DE, VINCENTIS Stefania. "Il museo di arte antica in una prospettiva digitale. Progetti di Digital Art History tra teoria e applicazione all'interno dei luoghi della cultura". Doctoral thesis, Università degli studi di Ferrara, 2020. http://hdl.handle.net/11392/2478840.
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Quello della Digital Art History è un argomento al centro di un vivace dibattito accademico, dove il susseguirsi di più interpretazioni, spesso tra loro discordanti, faticano a definirlo un vero e proprio ambito disciplinare. Il suo stesso collocarsi all’interno delle Digital Humanities partecipa a creare confusione senza definire esattamente metodi, criteri e prassi che possano aiutare a stabilire l’effettiva valenza disciplinare della Digital Art History.
Il cambiamento degli approcci museologici e museografici, grazie alle nuove tecnologie, sia per la catalogazione e la comunicazione delle collezioni costituisce, invece, un dato assodato e riconosciuto. Il museo virtuale è un concetto con cui la storia dell’arte ha iniziato a familiarizzare alla fine del XIX secolo con le prime letture delle avanguardie storiche dello spazio museale e del concetto stesso di museo, intenzionate a promuovere un modello di fruibilità e godimento estetico, interpretabile e interagibile, a portata d’individuo quando non davvero portabile. Partendo da queste premesse, l’obiettivo della tesi è di individuare i punti di congiunzione, ammesso che esistano, tra le nuove manifestazioni della Digital Art History e i progetti che interessano il museo digitale. La tesi vuole suggerire il museo come ambito privilegiato per lo sviluppo delle ricerche digitali storico artistiche, come il luogo dove gli esiti di questi studi possano diventare una risorsa accessibile a un pubblico stratificato, composto da un’utenza generica o specializzata. Saranno messi a confronto esempi di progetti digitali che riguardano sia i musei che la storia dell’arte, ma il caso trattato in maniera più approfondita, scelto per testare questa ricerca, riguarda una delle più note e “antiche” risorse digitali per la storia dell’arte: il Getty Provenance Index. Questo progetto è inserito in un piano di lavoro triennale, il Provenace Index Remodeling, che modificherà le tipologie di accesso ai diversi database che lo compongono e che influirà sulle modalità con cui questa struttura potrà essere utilizzata dagli utenti, studiosi, ricercatori, studenti, tecnici e conservatori museali.Changes in museological and museographic approaches, thanks to new technologies both for the cataloging and communication of collections, represent an established and recognized fact. The virtual museum is a concept with which art history began to familiarize itself at the end of the nineteenth century with the first approach by historical avant-gardes to the museum space and to the concept of museum itself, intending to promote a model for an aesthetic usability and enjoyment, interpretable and interactable, personalizable when not really portable. Starting from these premises, the aim of the thesis is to identify the contact points, if any, between the new manifestations of Digital Art History and the projects that affect the digital museum. The thesis aims to suggest the museum as a privileged area for the development of historical and artistic digital research, as the place where the results of these studies become an accessible resource to the stratified audience, made up of generic or specialized users. Examples of digital projects that concern both museums and art history will be compared, but the case treated in more detail, chosen to test this research, concerns one of the most famous and "old" digital resources for the history of art: the Getty Provenance Index. This project is included in a three-year program, the Provenance Index Remodeling, which will modify the types of access to the various databases that make it up and which will influence the ways how this structure can be used by users, scholars, researchers, students, technicians and museum curators.
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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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Konstantelos, Leonidas. "Digital art in digital libraries : a study of user-oriented information retrieval". Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1333/.
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This thesis presents an empirical investigation of the problems of including pictorial digital art in the context of Digital Libraries (DLs). The rational for this work is that digital art material is a significant source of learning and research, provided that it is systematically collected and maintained in structured electronic repositories. The thesis addresses a fundamental question: How to provide description and retrieval services, which are based on the needs of digital art user communities? This raises three research issues. One is the need to combine DL collections into meaningful and functional content. The second is the importance of a user-oriented approach to designing and developing Digital Libraries. The third is the requirement for continuing access to digital art as a record of modern culture. These questions are explored through a needs assessment targeted to Arts & Humanities scholars, digital artists and representatives of the DL community. A data collection methodology is developed, based on the principles of Social Informatics and a case study of evaluation efforts in extant projects. The results from this process demonstrate that the scholarly value of digital art can be established by aggregating material from various repositories into a unified dataset. The results also identify specific documentation and retrieval issues deriving from inclusion of digital art in a DL environment that necessitate further investigation. To this end, a review of sixteen digital art online resources is conducted which reveals ad-hoc collection strategies and metadata deficiencies. The work presents a prototype Digital Library for enhancing the educational outcome of digital art. The application is used as an implementation platform for material aggregation and augmented documentation through the Media Art Notation System (MANS). The summative evaluation findings confirm that the suggested solutions are highly rated by the targeted audiences. The thesis makes a contribution to academic knowledge in situating the representation of digital art within modern society. By critically examining the unique requirements of this material using the resources of social theory, the thesis represents a contemporary and pragmatic perspective on digital media art. In a well-structured Digital Library, the scholarly potential of digital art is much greater than the currently employed ad-hoc context. This work offers a sustained reflection and a roadmap for selecting and consistently applying a strategy that aims to continually improve the quality of digital art provision.
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Minnie, Heinrich. "Homunculi of the Digital City". Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/32863.
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Employing the media of video and installation, Homunculi of the digital city explores what it means to live in a digitally-mediated city. In my work, I personify both the city and city dwellers as cyborgian characters, by drawing on Donna Haraway's definition of the cyborg. I expand my personification further by employing the Homunculus from Johann Wolfgang von Goethe's Faust II (1950, originally published in 1832). I utilise Matthew Gandy, Ingrid Hoelzl and Rémi Marie's discussions around the broader city so to consider the material and immaterial elements that constitute it. The screens that populate contemporary cities embody both these elements: they are physical objects that perform invisible data, in the vein of Boris Groĭs' analogy of an image file being analogous to a piece of music that needs to be performed in order to be sensible. By drawing on these frameworks, I position the city as a high density of screens that are physically ubiquitous, often a prosthetic, and function as a gateway to the immaterial elements of the city.
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Heron, Julie. "The art of homecoming". Thesis, University of Ballarat, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/43455.
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This project is concerned with exploring a particular cluster of ideas and stories concerning Homecoming, most notably the presence of the Woman Who Waits for the traveller to return. Underlying the storied aspects of the visual work are the deeper intentions of soulfulness, personal therapy and social interaction. Although profoundly autobiographical, the metaphoric images I have produced are not only a means to touch others but are inclusive of a broader experience than simply my own. Throughout the following exegesis I draw on the disciplines of psychology, sociology, mythology and history, to explore the metaphoric presences of the deities Hestia and Hermes and their relationship to ideas of Home and Not - Home. Particular qualities associated with Home may, for the traveller, become symbolically embodied within the figure of The Woman Who Waits. This simple perception of The Woman Who Waits, and the process of waiting for the traveller to return was explored and expanded through autobiographic art practice combined with visual and theoretical research. Throughout the project the expression of emotive autobiographic issues through the running use of metaphor has been combined with increasing technical control and subtlety along with sustained explorations of spatial and compositional dynamics.Masters (Visual Arts)
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Heron, Julie. "The art of homecoming". University of Ballarat, 2002. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14603.
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This project is concerned with exploring a particular cluster of ideas and stories concerning Homecoming, most notably the presence of the Woman Who Waits for the traveller to return. Underlying the storied aspects of the visual work are the deeper intentions of soulfulness, personal therapy and social interaction. Although profoundly autobiographical, the metaphoric images I have produced are not only a means to touch others but are inclusive of a broader experience than simply my own. Throughout the following exegesis I draw on the disciplines of psychology, sociology, mythology and history, to explore the metaphoric presences of the deities Hestia and Hermes and their relationship to ideas of Home and Not - Home. Particular qualities associated with Home may, for the traveller, become symbolically embodied within the figure of The Woman Who Waits. This simple perception of The Woman Who Waits, and the process of waiting for the traveller to return was explored and expanded through autobiographic art practice combined with visual and theoretical research. Throughout the project the expression of emotive autobiographic issues through the running use of metaphor has been combined with increasing technical control and subtlety along with sustained explorations of spatial and compositional dynamics.Masters (Visual Arts)
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Sheridan, Jennifer Gayle. "Digital live art : mediating wittingness in playful arenas". Thesis, Lancaster University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442720.
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Lotz, Felix. "A conversation between Art Nouveau and Digital design". Thesis, KTH, Arkitektur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-193091.
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The study contrasts the architecture of the Art Nouveau period 1880-1915 with contemporary curvilinear computational designs created 1980-2015. This is done by examining similarities and differences in design context, methods, philosophy and forms. The study includes an analysis of the curved lines used in Art Nouveau architecture as well as comparative study of the two periods’ building compositions, façades and ornamentation. The thesis tries to answer the following questions: Is it possible to identify significant forms or geometric markers in the Art Nouveau architecture of the period 1890 to 1920? How do such markers differ from post 1980 computational curvilinear architecture? Is it possible to reinterpret Art Nouveau architecture today in a relevant way?Denna studien kontrasterar Art Nouveau/ Jugendstil perioden 1880-1920 med dagens datorstödda design diskurs med fokus på den böjda linjen. Studien undersöker skillnader och likheter i kontext, metod, filosofi och form mellan de båda perioderna. Studien inkluderar en analys av den kurvatur som används inom Art Nouveau / Jugendstil och undersöker vidare byggnadskomposition, fasader och ornament i de båda tidsperioderna. Studien försöker besvara följande frågor: Fins det några signifikanta former eller geometrier i Art Nouveau / Jugendstil arkitekturen och hur skiljer dessa sig från dagens datorstödda arkitektur, Går det att på ett relevant sätt använda delar av Art Nouveau / Jugendstil arkitekturen och dess diskurrs på ett idag relevant sätt.
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Lilas, Zilvinas. "The work of art in the digital era". The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327337143.
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Lam, Yui-yim Margaret. "Realm of media art". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947382.
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Chan, Ching-yan Janet, i 陳靜昕. "On digital aesthetics: scrutinizing aestheticstudies in the digital era". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B30681893.
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Andersen, Evan. "An analysis of the art image interchange cycle within fine art museums /". Online version of thesis, 2010. http://hdl.handle.net/1850/11981.
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Turner, Rhys. "Etherscapes massless, elastic, technology and control /". Connect to full text, 2004. http://hdl.handle.net/2123/1100.
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Thesis (M.V.A.)--University of Sydney, 2005.Title from title screen (viewed 27 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2005; thesis submitted 2004. Includes bibliographical references. Also available in print form.
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Choe, Nancy Sunjin. "An Exploration of the Qualities and Features of Digital Art Media in Art Therapy". Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/19.
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Through the lens of a participatory design (PD) approach, this study explored to find qualifying features and qualities of digital art materials, specifically art apps on iPads for art therapy use. The study comprised of two phases: 1) a questionnaire/interview of four art therapists using iPads with clients and 2) four separate focus groups with 15 art therapist and art therapist trainee participants involving multiple stages of cyclic feedback. The focus groups engaged in art directives with nine art making apps identified by the researcher and questionnaire respondents as potentially useful in art therapy. The results revealed that while there was no single commercial art app that satisfied the needs of all art therapists and vast range of clients’ technology skills, artistic abilities, stylistic preferences, and therapeutic needs, three distinct qualities and six concrete features of an “ideal” art app for art therapy use emerged. Additionally, the study’s results expanded the parameters of art therapy’s artmaking practice and visual vocabulary by illustrating digital art media’s potential therapeutic and expressive use. And most importantly, the protection of privacy and confidentiality of client’s digital artwork emerged as one of the most important issue to consider. While this paper discusses the limitless possibilities of digital art media’s meaningful usage in art therapy, it also acknowledges how its unique characteristics may require thoughtful limitations and restrictions.
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Chan, Ching-yan Janet. "On digital aesthetics scrutinizing aesthetic studies in the digital era /". Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B30681893.
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McBurnie, Jonathan. "Collisions: drawing in the digital age". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13133.
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This research outlines the reconfiguration of the creative act of drawing through physical practice as a response to mass culture. This practice takes place in the context of developing digital technologies, culminating in metadrawing. Metadrawing is defined as the integration of the post-digital collapse of media specificity in the visual arts. This research posits metadrawing as a descriptor for the paradigm shift between the physical act of drawing in pre-digital mass culture and the principles of drawing incorporated into digital technologies. Through this shift, drawing has become an artistic act that is no longer working to collapse media divisions, and now operates within and without these divisions, destabilised by digital technologies. This research examines drawing as a history of innovations and responses to shifts in technologies and their applications. Questions of genre, form and medium are subsequently downplayed for an interdisciplinary approach. High and low are no longer distinct, as the internet search engine is adopted into the artist's toolbox, alongside the digital camera and animation software. The many accessible and disposable images are integrated as raw matter, to fossick and sift through. Accompanying studio research operates within the interdisciplinary freedoms of the metadrawing. Approaches to quotation, appropriation, pastiche, irony, detachment and sincerity are explored through a rigorous drawing practice, resulting in a vast, multilayered body of work. This self-reflexive and intuitive practice incorporates numerous ciphers into its many suspended, but interrelated narratives. Beyond the physical level, the work operates on an intertextual level, moving between the metaphysics of genre and previously separated art forms to create a reconfigured history, unhampered by previous distinctions and boundaries of media and form. This research posits the act of drawing as a reaction to, or divergence from, the dominant techno-capitalist status quo, treating the tactile experiences of studio practice as subversive, transgressive, and erotic. This research explores the subjectivity and the subjective agency of the artist. Drawing is therefore defined as a process of unrepeatability, a process that, while no longer necessary for picture making, still forms a crucial and engaging tier of the visual arts. Drawing’s divergence from the commercialised intangibility of the digital has revitalized its practitioners, demanding a reconsideration of what is means to draw today. This tension is explored through the different methods of studio practice, on the level of the personal-biological, the erotic, and in terms of collision and materiality. Specific images are selected through criteria directly linked with the subjective agency of the artist, and reconfigured through artistic practice, creating a new imbrication of the raw image matter.
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Waelder, Laso Pau. "Selling and collecting art in the network society: Interactions among contemporary art new media and the art market". Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.
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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.
The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.
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Johnson, Mia. "Digital art on the World Wide Web, 1996-1997". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25074.pdf.
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Sniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.
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My ethnography explores the independent documentary film community in Songzhuang, an artist village in Beijing's Tongzhou District. Through participant-observation, interviews, participation in festivals, and my own filmmaking practice, I describe filmmakers and festival organizers as cultural producers endeavoring to work outside the confines of both the government and the mainstream cinema industry. To offer an analysis of the social, political, economic, and ethical conditions of this independent film community, my study also focuses on concrete practices of filmmakers and film supporters; privately-owned centers and social networks that enable the production, exhibition, and distribution of films; and the relationship between this community and government regulation. I argue that the independent documentary community constitutes a jianghu (literally, “rivers and lakes”), which, drawing from Chinese literature, I delimit as a social world of marginality and resistance against the status quo. Further, jianghu refers not only to independent filmmakers, but also to millions of “migrants” within the Chinese population who, even as they provide labor that fuels development, nonetheless subsist on the margins. This study also considers the efforts of filmmakers and scholars to elucidate a Chinese visual aesthetic, which has been called xianchang (“on the spot”) and, most recently, jingguan dianying (“quiet observational cinema”). These indigenous framings counter eurocentric notions of documentary and prevail among the majority of independent directors as an aesthetic wellsuited to represent the “cruelty of the social,” a term I introduce to describe social suffering born not only of China’s modern history of pain but also its contemporary turbulent era. I draw together the issues of distribution, social impact, and economic stability for independent documentary, as well as document the role of the state in quelling, censoring, and co-opting independent film. I conclude by exploring xianchang and my own filmmaking practice as advancing a form of knowledge that, owing to its experiential quality and its refusal to simplify and reduce phenomena into cultural data, is well-suited to represent the inherent complexity of Chinese society. Finally, a coda documents recent government oppression and festival cancellations to argue that the current moment is one of grave uncertainty for Chinese independent film.Anthropology
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Hancock, Mary T. "Cultivating Territories and Historicity: The Digital Art of Skawennati". University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396530332.
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Clifford, Alison. "Articulating the interstitial : interpretive responses in digital art practice". Thesis, Glasgow School of Art, 2014. http://radar.gsa.ac.uk/3716/.
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The research investigates definitions and representations of the interstitial through digital art practice and through critical reflection and discussion in an accompanying textual dissertation. It began with a series of photographic light paintings which I argue via metaphorical mappings, are representations and definitions of the interstitial (or what Duchamp termed the infra-slim) in terms of moments, forms and spaces. Practice-based study then aimed to create new audiovisual interpretative responses that articulate the interstitial based on these definitions. The investigation through practice encompassed a combination of two distinct approaches towards the creation of form, each with its own aesthetic. Firstly the use of generative systems and algorithms that allow for unforeseen visual outcomes, resulting in a more organic aesthetic; and secondly, direct manipulation of form through 3D modelling and montage techniques, leading to pre-defined visual outcomes that demonstrate an aesthetic that is more synthetic in nature. Over the course of the study, both approaches were employed to create a series of motion-based audiovisual artworks that explored and negotiated tensions between these seemingly conflicting visual aesthetics in response to the source images. In doing so, a dialogue between these distinctive aesthetics unfolded, and a new interstitial aesthetic emerged.
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Paquette, Andrew John. "The development of proficiency among undergraduate digital art students". Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/the-development-of-proficiency-among-undergraduate-digital-art-students(1eecb985-b369-4207-aaa0-80383188c0aa).html.
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Teaching digital artists has received ongoing criticism from industry sources, who feel that graduates are rarely well-prepared for employment. This is a problem for students when they seek employment, for employers who must hire qualified digital artists, and for the reputation of educational institutions that provide instruction in this domain. Students from the Netherlands’ International Game Architecture and Design (IGAD) visual arts programme participated in research designed to investigate how proficiency develops in the technical and creative discipline of digital art. This study used an exploratory mixed methods design that triangulated archival data on the 625 digital art students who have attended IGAD with qualitative data collected from 20 current students, five digital art supervisors and five employed IGAD graduates. A mixed methods design was chosen so that historical performance could be compared with data collected directly from student participants, particularly on the subject of how prior experience influenced later development. Student participants provided information relevant to their learning process, industry supervisors evaluated student work against professional standards, and employed graduates provided perspective on the transition from student to industry practice. Data collected for the quantitative study was in the form of archival records regarding prior experience and later performance. The qualitative study utilised learning logs, progress reports, project files and interviews with all participants. Correlation and analysis of variance (ANOVA) tests were used in the quantitative phase of the study. Case study analysis was used for the qualitative phases of the study.
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Calderone, Ursula University of Ballarat. "I hope that I have got some art". University of Ballarat, 2008. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12783.
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In this thesis I have researched what I believe is the powerful, catalytic effect of poetry on the creative work of some artists. I have chosen three, Australian painters; Sidney Nolan, James Gleeson and Brett Whiteley. I have looked carefully at how the works of various poets have influenced and inspired these artists. I have put forward the idea that this engagement with the poetic realm has greatly enhanced the artist’s creative form-making. Indeed these artists have acknowledged their strong links with the world of poetry. I have touched very briefly on the ideas of some renowned philosophers who stress society’s need for fine works of art. In my opinion great works of art can come from this linking of painting with poetry and therefore, this nexus is to be encouraged. I have in my own painterly works looked to the poets for inspiration. In The Wimmera Series of landscape works, I read Brian Edwards’ and Homer Reith’s poetry, and found in their imagery a rich source of creative ideas. I continued to read the works of the poets and found that the poetry of Ezra Pound, Dante Alighieri, Judith Wright and the works of many others, were an inspirational and catalytic force. I have also discovered on this artistic journey that the very writing of poetry, my own attempts in this field, seemed to bring to my painting, a sharper, a more analytical and critical focus. Renowned art critics and art historians have criticised contemporary art for its lack of the poetic, and its boring shallowness. I would urge artists to engage with the poetic realm, and this interplay between painting and poetry, may produce fine works of lasting greatness.Master of Visual Arts
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Calderone, Ursula. "I hope that I have got some art". Thesis, University of Ballarat, 2008. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/54811.
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In this thesis I have researched what I believe is the powerful, catalytic effect of poetry on the creative work of some artists. I have chosen three, Australian painters; Sidney Nolan, James Gleeson and Brett Whiteley. I have looked carefully at how the works of various poets have influenced and inspired these artists. I have put forward the idea that this engagement with the poetic realm has greatly enhanced the artist’s creative form-making. Indeed these artists have acknowledged their strong links with the world of poetry. I have touched very briefly on the ideas of some renowned philosophers who stress society’s need for fine works of art. In my opinion great works of art can come from this linking of painting with poetry and therefore, this nexus is to be encouraged. I have in my own painterly works looked to the poets for inspiration. In The Wimmera Series of landscape works, I read Brian Edwards’ and Homer Reith’s poetry, and found in their imagery a rich source of creative ideas. I continued to read the works of the poets and found that the poetry of Ezra Pound, Dante Alighieri, Judith Wright and the works of many others, were an inspirational and catalytic force. I have also discovered on this artistic journey that the very writing of poetry, my own attempts in this field, seemed to bring to my painting, a sharper, a more analytical and critical focus. Renowned art critics and art historians have criticised contemporary art for its lack of the poetic, and its boring shallowness. I would urge artists to engage with the poetic realm, and this interplay between painting and poetry, may produce fine works of lasting greatness.Master of Visual Arts
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Calderone, Ursula. "I hope that I have got some art". University of Ballarat, 2008. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14619.
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In this thesis I have researched what I believe is the powerful, catalytic effect of poetry on the creative work of some artists. I have chosen three, Australian painters; Sidney Nolan, James Gleeson and Brett Whiteley. I have looked carefully at how the works of various poets have influenced and inspired these artists. I have put forward the idea that this engagement with the poetic realm has greatly enhanced the artist’s creative form-making. Indeed these artists have acknowledged their strong links with the world of poetry. I have touched very briefly on the ideas of some renowned philosophers who stress society’s need for fine works of art. In my opinion great works of art can come from this linking of painting with poetry and therefore, this nexus is to be encouraged. I have in my own painterly works looked to the poets for inspiration. In The Wimmera Series of landscape works, I read Brian Edwards’ and Homer Reith’s poetry, and found in their imagery a rich source of creative ideas. I continued to read the works of the poets and found that the poetry of Ezra Pound, Dante Alighieri, Judith Wright and the works of many others, were an inspirational and catalytic force. I have also discovered on this artistic journey that the very writing of poetry, my own attempts in this field, seemed to bring to my painting, a sharper, a more analytical and critical focus. Renowned art critics and art historians have criticised contemporary art for its lack of the poetic, and its boring shallowness. I would urge artists to engage with the poetic realm, and this interplay between painting and poetry, may produce fine works of lasting greatness.Master of Visual Arts
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Geiger, William. "The art educator's role in technology education". Online version, 2009. http://www.uwstout.edu/lib/thesis/2009/2009geigerw.pdf.
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Hartley, Julian Alex. "Museums and the digital public space : researching digital engagement practice at the Whitworth Art Gallery". Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/museums-and-the-digital-public-space-researching-digital-engagement-practiceat-the-whitworth-art-gallery(8eebb8f4-b0b5-4e40-a419-50be3c2e6e9a).html.
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Since the 1990s, a trend in the UK museum sector for developing community partnerships has witnessed a ‘participatory drive’ that aims to embrace social diversity by engaging communities in the co-creation of exhibitions and other museum work. In this context, the Internet broadly, and social media in particular, are seen as complementary to museum processes of reciprocal exchange and public access. However, as this thesis stresses, treating the Internet and social media as complementary and convergent with the participatory drive in museums is assumptive and has been under-analysed, and its difficulties and complexities understated. In this context, this practice-based research carefully unpicks and critically analyses naturalised assumptions about online resources and social media practices in museums by tracing the cultural history through which the participatory museum has developed and contrasting it with the much later sociology of the Internet. The participatory drive is seen to be mediated through society’s agencies for local governance, healthcare and education services, as well as neighbourhood groups and families. These structures act then as a bridge organising people in space and time. In turn, museums’ digital practices often assume similar social organisation in their approach towards public engagement. However, the distributed architecture of the Internet has the effect of compressing time with space, enabling group organisation and public spaces to bypass society’s structures and instead place the individual at the centre of a network of relationships that self-organises according to the social capital displayed in online behaviour. Accordingly, the thesis argues, there is anapparent mis-match between museums on the Web and the online public, which affects negatively public engagement online. By bringing Bourdieu’s theories of social space and social capital into the realm of the Internet, drawing on cultural historical activity theory and reflecting on a research residency at the Whitworth Art Gallery, this thesis goes on to examine why museums find it challenging to engage with online publics. Its research practice aimed to ‘open’ the digital collections of the participating museum into the same time and space as the online public. This included triggering, following, documenting and critically reflecting upon processes, challenges and actions of digital engagement and the people involved in them. The thesis reflects on the research practice’s organisational and cultural challenges, which relate to the fact that it contradicted the museum’s existing departmental organisation and symbolic representation of public access and engagement. It goes on to argue that when digital practices of museums are attuned to the ecology and spatial structure of the online public, the outcomes are misrecognised as unrelated to museums’ core practices of social inclusivity. Instead, the argument continues, museums need to open up to emerging concepts of digital public space and publicness, in order for their digital practices to be relevant to online publics.
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Boivie, Joakim. "Digital Wanderlust : Med digital materia som följeslagare i skapandet". Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14703.
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Med detta kandidatarbete vill jag synliggöra datorns roll i digitalt skapande. Detta genom att se till den kod som utgör digitala objekt som ett materia, och utifrån Karen Barads teorier om agentiell realism samt forskning i digital materialitet bjuda in denna digitala materia som en aktör i skapandeprocessen. Jag har strävat efter en inblick i hur digital materia framträder när den tillåts verka som en aktör, hur den tar ett uttryck och yttrar sig. Jag har engagerat mig i digital materia med diffraktion och remix som metod, vilket tillåtit mig en djupare inblick i det samt en inkluderande process där jag och materiat verkar tillsammans; i intra-aktion. I slutändan ser jag hur digital materia inte framträder ensamt, både jag och dator finns sammantrasslade i dess framträdande som ett resultat av den intra-aktion vi mötts i. Mitt ingripande i digital materia blir synligt i form av glitches, spår av digitalt förfall som ger det annars flyktiga digitala materiat mer materiella och konkreta egenskaper. Det blir även tydligt hur digital materia innebär en svårförstådd komplexitet, som framträder visuellt när det tillåts påverka denna skapandeprocess. Men jag även erhållit en medvetenhet om hur digital materia inte har ett absolut framträdande, och mitt arbete kan ses som en undersökning i hur digital materia kan framträda.With this bachelor thesis I aim to bring to light the role of the computer in digital creative work. This is accomplished by treating the code that make up digital objects as a form of matter, and with Karen Barad’s agential realism and other research into digital materiality as a point of reference this matter is invited to the creative process as an actor. I’ve been striving for a glimpse of how digital matter comes to life when it’s allowed an active part in the creative process, to see how it expresses itself. By engaging with the digital matter through diffraction and remix as methods I’ve been given an insight into the core of it, and through the process I’ve been working alongside digital matter in intra action. Ultimately I can see how digital matter won’t appear alone, I myself and the computer are both entangled together with the digital matter as a result of the intra actions we’ve been engaging in. My intervention in digital matter becomes visible as glitches, traces of decay that give the digital matter, which can be so fleeting, more concrete and material characteristics. The unintelligible complexity of digital matter also comes to light when it’s allowed influence, as it appears visually. With this knowledge I’ve gained the awareness that digital matter does not have an absolute appearance, and this thesis can be seen as an investigation into how digital matter can appear.
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Yen, Koon-wai Michael. "Urban channel for electronic media and arts". Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951397.
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Salisbury, Brian. "OF GODS, BEASTS AND MEN: DIGITAL SCULPTURE". Master's thesis, Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002587.
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Hermosilla, Abby L. "Virtual Elsewhere/s: Decolonizing Cyberspace in Skawennati's Digital Territories". Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619431752147577.
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Clinnin, Kaitlin Marie. "Beyond Binary Digital Embodiment". Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32341.
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The late 20th and early 21st centuries have seen the creation of new forms of subjectivities that represent the integration of digital and information technologies into construction of the self and bodies. I argue that to this point there has not been a satisfactory theoretical framework for the experience of bodies in virtual environments that does not default to problematic binaries of physical and virtual, real and unreal, and meaningful and meaningless. These dualistic constructions render experiences of bodies within virtual settings meaningless. In order to examine how this power differential between physical and virtual came to be, I engage with Katherine Haylesâ evaluation of information as a disembodied entity. I argue that Haylesâ humanist principles prevents her from fully understanding the experience of bodies within virtual spaces as meaningful and important. I then deconstruct the materialist basis of representation in order to demonstrate how information can be reconceived as an embodied force. I further analyze digital media art installations, specifically dance performances, to examine how digital bodies are currently experienced in relationship to corporeal forms. I finally offer two new theories of Master of Arts
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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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Marner, Anders. "Digital media embedded in Swedish art education : a case study". Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-71559.
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In this case study a secondary school and its art education is studied. Pupils and the art teacher are interviewed and observations are made in school and out of school. The study is based on socio-cultural theory, media ecology and semiotics. In this school manual and digital media each share about 50 percent of the time available for art. It is shown that it is the teaching method – the change from a dialogic to a multivoiced method – that enables the embedded use of digital media. Arguments for digital media in art are that they are time-saving, promote aesthetic aspects and will put an end to the process of traditional education where the teacher is reduced to being a conveyor of information. The computer lab is no option for an embedded art education. On monitors and in exhibitions pupils are surrounded by other pupils´ works, which promotes a desire among them to improve their creativity, and a local art culture is developed in a cumulative process.Skolämnesparadigm och undervisningspraktik i skärmkulturen – bild, musik och svenska [“School subject paradigms and teaching practice in the screen culture – art, music and Swedish”].
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Partin-Harding, Melissa C. "Innovative Teaching Strategies: Teaching Art Photography In The Digital World". Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308282675.
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Suliman, Helen-Joy. "Framing the digital the viewing environment for web specific art work /". Access electronically, 2004. http://ro.uow.edu.au/theses/234.
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Gasparetto, Débora Aita. "Arte digital no Brasil e as (re)configurações no sistema da arte". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/150958.
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Essa pesquisa visa compreender o espaço no qual a arte digital, entendida como sistema complexo, ou seja, arte-ciência-tecnologia, é produzida, circula, é consumida e preservada no Brasil, entre o sistema da arte contemporânea e a cultura digital. A partir de uma metodologia qualitativa que une levantamento bibliográfico, pesquisa de campo e entrevistas, encontrei uma rede interoperante, convergente, móvel, pervasiva e instável que atualiza as noções de sistema da arte. Nesse espaço fluído e flexível que tenho defendido como o sistema da arte digital, rastreio o movimento de conceitos, agentes, processos, teorias e práticas. Os resultados da pesquisa apontam um sistema da arte digital em conexão com outros sistemas, bem como (re) configurações originadas pela economia e cultura digital.This research aims to understand the space in which digital art, understood as a complex system, that is, art-science-technology, is produced, circulates, is consumed and preserved in Brazil, between the system of contemporary art and digital culture. From a qualitative methodology that combines bibliographic research, field research and interviews, I found an interoperating network, convergent, mobile, pervasive and unstable that updates the art system notions. In this fluid and flexible space that I have defended as the system of digital art, I trace the movement of concepts, agents, processes, theories and practices. The research results indicate a digital art system in connection with other systems, and (re) configurations caused by the economy and digital culture.
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Haute, Lucile. "Performer dans les environnements mixtes : Actualisation de l'espace programmé". Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2197/document.
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Les environnements mixtes sont des dispositifs, des mises en scène, des installations, hybridant tangible et numérique, espace physique et espace informationnel ou fictionnel. Ces environnements permettent à leurs expérimentateurs d’être simultanément ici et maintenant et liés à un ailleurs ou une autre temporalité. Ils peuvent emprunter à la magie du spectacle autant qu’aux technologies de l’ingénieur. Ils rejoignent la performance lorsqu’ils permettent de créer ou de donner accès à d’autres mondes. Ces mondes peuvent être des plateformes 3D ou des fictions. Les environnements mixtes relèvent d’enjeux moins spectaculaires que performatifs, fictionnels et plastiques. Les dimensions techniques, qu’il s’agisse de technologies numériques, de mise en forme cérémonielle ou scénographique, rejoignent les enjeux plastiques. Faire performance dans de tels environnements, c’est rechercher, permettre ou provoquer des états de corps conjoncturels, relatifs au contexte spécifique d’une démonstration. Cette thèse a également pour objet de rendre compte, en dehors du temps de leur présentation publique, de ces formes invitant à des expérimentations multiples et singulières et également des différentes explorations, celles de performers et d’expérimentateursMixed environments are devices, stagings, installations, which hybridize what is tangible and what is digital, physical space and informational or fictional space. These environments allow for their experimenters to be here and now, but also simultaneously linked to an elsewhere or to another temporality. They borrow as much from the magic of the spectacle as from the engineer’s technologies. When they allow to create or to give access to other worlds, they join with performance. These worlds can be 3D platforms or fictions. Mixed environments are defined less by spectacular issues than by performative, fictional and plastic ones. The technical dimensions, be they digital technologies, the ceremonial formatting or stage design, join with the plastic dimensions. To perform in these environments is to search for, allow or provoke temporary states of the body that are related to the specific context of a demonstration. Aside from their public presentation, this dissertation work will also address these forms, which invite to multiple and singular experimentations, as well as the different ways they are explored, by the performers or by the experimenters
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Kruger, Leanne. "Metapolis : virtual reality vs. real virtuality in a digital art pavillion". Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/29982.
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This dissertation focuses on architecture in the information age.Information technology is evolving at an alarming rate, which opens up a vast landscape of possibilities within the architectural realm. These possibilities are discussed and implemented into anarchitectural intervention, with a specific focus on the relationship between the real and the virtual. A digital art pavilion is proposed on the corner of Proes and van der Walt streets in Pretoria CBD, where the Munitoria Complex (Tshwane Municipal Offices) is currently situated. This intervention should act as a catalyst for positive change by narrowing the digital divide that is currently causing social and cultural segregation; providing a tool for upliftment by informing city dwellers. This negates the current "culture of ignorance" by stimulating a culture of knowledge.Dissertation (MArch(Prof))--University of Pretoria, 2011.
Architecture
unrestricted
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Ferreira, Daniel Peixoto. "Expressividade procedural: narrativas e jogos digitais". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-22092016-141634/.
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Esta tese trata a respeito de uma abordagem criativa específica em mídias digitais: o emprego expressivo da autoria procedural (isto é, da criação ou manipulação de algoritmos). Esta abordagem, denominada aqui como expressividade procedural, difere fundamentalmente do emprego do computador unicamente para emular formas e linguagens tradicionais. Nossa investigação inclui estudos práticos realizados no contexto do projeto Playing Beowulf (University College London), no qual trabalhei como parte da equipe de pesquisa e desenvolvimento do MissionMaker, um aplicativo educacional para criação de narrativas e jogos digitais. Esperamos com esta tese contribuir na compreensão sobre o uso expressivo da autoria procedural em mídias digitais, e no seu papel fundamental na realização da expressividade própria deste meio.This thesis is about a specific creative approach in digital media: the expressive use of procedural authorship (i.e., the creation or manipulation of algorithms). This approach, which we call procedural expressiveness, distinguishes itself in a fundamental manner from the use of computers solely to emulate traditional forms and languages. Our investigation includes practical studies conducted in the context of the Playing Beowulf project (University College London), where I worked as part of the research and development team of MissionMaker, an educational software for creating digital narratives and games. With this thesis we hope to contribute in understanding the expressive use of procedural authorship in digital media, and its fundamental role in achieving the unique expressiveness of this medium.
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Santos, Pedro Miguel Baptista dos. "Industrias criativas: o papel da escola na formação dos artistas digitais". Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/30135.
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Esta investigação centra-se na importância da escola para a educação/formação e a preparação dos jovens para serem artistas digitais. As perguntas de partida são: Qual o papel da escola na “educação artística” dos jovens durante a escolaridade obrigatória? Será que a educação escolar prepara os jovens para desempenharem profissão(ões) na área das “artes digitais”? No decorrer deste estudo sociológico serão enumeradas e explicitadas as principais políticas públicas educativas/planos/programas/projetos nacionais específicos que promovam a “educação estética e artística” do ensino em Portugal. Serão também elencadas as competências necessárias para quem é (ou quer tornar-se) num Artista Digital e empreendida uma tentativa de compreender se a educação escolar desenvolve conhecimentos, habilidades e competências nos alunos que potenciem o exercício de uma profissão na área digital.
A estratégia metodológica definida para alcançar os objetivos, baseia-se numa abordagem qualitativa. As técnicas de recolha de informação escolhidas foram a pesquisa bibliográfica e documental (cujos dados se encontram no enquadramento teórico), a entrevista semi- diretiva (aos Artistas Digitais com idades compreendidas entre 18 e 30 anos, com um grau de escolaridade superior ao 12º ano do ensino regular obrigatório e que exerçam ou tenham exercido recentemente profissões artísticas digitais) e a observação direta (realizada junto de Artistas Digitais com referidas caraterísticas). Os principais resultados revelam que a Educação escolar não só promove, como também contribui para o desenvolvimento das competências necessárias ao exercício das profissões artísticas digitais. No entanto, averiguou-se que a educação escolar não promove todas as competências necessárias, mas sim apenas algumas, levando, assim, à necessidade de melhoramentos de forma que seja possível promover essas mesmas competências em falta; Creative Industries: The role of school in the training of Digital Artists
Abstract:
This research focuses on the importance of school for education / training and preparing young people to be digital artists. The starting questions are: What is the role of the school in the “artistic education” of young people during compulsory education? Does school education prepare young people to perform a profession (s) in the area of “digital arts”?
During the execution of this sociological study, the main public educational policies / plans
/ programs / specific national projects that promote the “aesthetic and artistic education” of teaching in Portugal will be enumerated and explained. The skills required for those who are (or want to become) a Digital Artist will also be listed and an attempt is made to understand whether school education develops knowledge, skills and competences in students that enhance the exercise of a profession in the digital area.
The methodological strategy defined to achieve objectives, is based on a qualitative approach. The techniques for collecting information chosen were bibliographic and documentary research (whose data are in the theoretical framework), semi-directive interview (to Digital Artists aged between 18 and 30 years old, with a level of schooling higher than the 12th year of compulsory regular education and who exercise or have recently exercised digital artistic professions) and direct observation (carried out with Digital Artists with such characteristics). The main results reveal that school education not only promotes, but also contributes to the development of the skills necessary for the exercise of digital artistic professions. However, it was noted that school education does not promote all the necessary skills, but only some, thus leading to the need for improvements so that it is possible to promote those same missing skills.
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Agyeman, Cynthia A. "Artists' Perception of the Use of Digital Media in Painting". Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1443101832.
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Hempson, Garth Jake. "The naturally imperfect form : investigations of the application of digital sculpting methods - extracted art : incorporating and translating ‘found art’ into the medium of digital sculpture". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/60246/1/Garth_Hempson_Thesis.pdf.
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This dissertation analyses how physical objects are translated into digital artworks using techniques which can lead to ‘imperfections’ in the resulting digital artwork that are typically removed to arrive at a ‘perfect’ final representation. The dissertation discusses the adaptation of existing techniques into an artistic workflow that acknowledges and incorporates the imperfections of translation into the final pieces. It presents an exploration of the relationship between physical and digital artefacts and the processes used to move between the two.
The work explores the 'craft' of digital sculpting and the technology used in producing what the artist terms ‘a naturally imperfect form’, incorporating knowledge of traditional sculpture, an understanding of anatomy and an interest in the study of bones (Osteology).
The outcomes of the research are presented as a series of digital sculptural works, exhibited as a collection of curiosities in multiple mediums, including interactive game spaces, augmented reality (AR), rapid prototype prints (RP) and video displays.