Artykuły w czasopismach: „Digital art”

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BENTKOWSKA KAFFEL, ANNA. "Digital Art". Art Book 15, nr 3 (sierpień 2008): 6–7. http://dx.doi.org/10.1111/j.1467-8357.2008.00970.x.

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Ikeda, Ryoji. "Digital Art". World Policy Journal 27, nr 3 (2010): 38–39. http://dx.doi.org/10.1162/wopj.2010.27.3.38.

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Prince, Patric D. "Digital art". ACM SIGGRAPH Computer Graphics 29, nr 4 (listopad 1995): 30–31. http://dx.doi.org/10.1145/216876.216884.

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Sungkar, Anna. "Digital Art". Dekonstruksi 9, nr 02 (27.03.2023): 32–41. http://dx.doi.org/10.54154/dekonstruksi.v9i02.143.

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Kunci sukses dalam berkesenian di era milenial adalah bagaimana kita dapat beradaptasi dalam teknologi digital yang berbasiskan komputer dan internet. Dengan bantuan teknologi, kita dapat menghasilkan karya-karya kreatif yang melebihi kemampuan manual manusia. Tulisan ini memberikan gambaran tentang sejarah perkembangan karya-karya digital dan kiat sukses para senimannya dalam menancapkan tonggak pada milestone senirupa digital. Hal itu dapat menjadi bahan pelajaran bagi yang berkecimpung dalam senirupa di masa kini. Pada bagian akhir, penulis mencoba memberikan formula bagaimana sikap dalam mengantisipasi dunia digital yang sudah tiba di hadapan kita.

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Ambrose, Kirk. "Digital Art History". Art Bulletin 97, nr 3 (3.07.2015): 245. http://dx.doi.org/10.1080/00043079.2015.1013401.

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Baca, Murtha, Anne Helmreich i Melissa Gill. "Digital Art History". Visual Resources 35, nr 1-2 (22.02.2019): 1–5. http://dx.doi.org/10.1080/01973762.2019.1556887.

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Singh, G. "Digital Art Revolution". IEEE Computer Graphics and Applications 25, nr 2 (marzec 2005): 4–5. http://dx.doi.org/10.1109/mcg.2005.39.

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Varnava, Christiana. "Digital art projected". Nature Electronics 2, nr 1 (styczeń 2019): 8. http://dx.doi.org/10.1038/s41928-018-0192-z.

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Ortegren, Hans, i Anders Marner. "Education Through Digital Art About Art". المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 1, nr 2 (1.04.2015): 241–60. http://dx.doi.org/10.21608/amesea.2015.71175.

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Marner, Anders, i Hans Örtegren. "Education through digital art about art". International Journal of Education Through Art 10, nr 1 (1.03.2014): 41–54. http://dx.doi.org/10.1386/eta.10.1.41_1.

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Denikin, Anton A. "Post-Digital Aesthetics in the Art Practices of the Digital Art". Observatory of Culture 14, nr 1 (1.01.2017): 36–45. http://dx.doi.org/10.25281/2072-3156-2017-14-1-36-45.

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Gintere, Ieva. "ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (20.05.2020): 649. http://dx.doi.org/10.17770/sie2020vol5.4817.

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The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future. This paper continues previously published research that helped to create the concept and design of Art Space, and focuses on the trends of photorealism and futurism.

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Dube, Avinash. "DIGITAL TECHNIQUES AND ART". International Journal of Research -GRANTHAALAYAH 7, nr 11 (30.11.2019): 89–91. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3706.

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Modern age is a digital age. Digitalization is improving the things in all sectors. In electronics digital instruments are replacing conventional analog instruments giving precession and accuracy. Teaching learning methods are greatly improved due to incorporation of digital technology. Life style of common people is also changing due to digital tranjections, online shopping, online banking etc. The field of art and painting is also influenced by digital techniques available now a day. With emergence of new tools and techniques the art of painting is gaining new shapes. Digital technical skills provide a wide platform for imagination of artists. There are pros and cons of each aspects but it is true that art always connect students with their own culture as well as with the wider world. Visual art always improve learners critical thinking.

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Adaskina, A. A. "Digital Art Therapeutic Possibilities". Современная зарубежная психология 10, nr 4 (2021): 107–16. http://dx.doi.org/10.17759/jmfp.2021100410.

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The discussion about the advisability of using digital technologies in the process of art therapy has been going on for several decades, but now it has become even more relevant in connection with the covid 19 pandemic and the need to provide remote psychological assistance to different groups of the population. The purpose of the article is to review foreign studies that reflect different ways of including digital technologies in art therapy work, an overview of specific examples of successful work using digital technologies (phototherapy, animation therapy, digital art, virtual reality tools). Doubts of specialists in the benefits of digital technologies are associated, first of all, with a change in the very nature of artistic creation, the loss of its sensory basis, loss of contact with artistic materials, as well as the risks of losing social connections outside the network. Among the arguments for the inclusion of digital technologies in the practice of art therapy prevail technical (the convenience of creating and storing digital works). There are also psychological (the ability to go through new experiences) and social (the ability to work with young people in their usual format, the availability of remote work and quick access to media space). The arguments of the authors are presented in a summary table. The main problematic points are identified. In order for digital technologies to become a natural part of art therapy work, training programs for specialists are necessary, as well as the development of special applications, since existing ones often do not take into account the specifics of art therapy.

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Youngwook Park. "Digital Art and Body". Drama Research ll, nr 44 (październik 2014): 5–31. http://dx.doi.org/10.15716/dr.2014..44.5.

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Singh, Gary. "Electrifying Digital Abstract Art". IEEE Computer Graphics and Applications 35, nr 2 (marzec 2015): 4–5. http://dx.doi.org/10.1109/mcg.2015.27.

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Paul, Christiane. "Renderings of Digital Art". Leonardo 35, nr 5 (październik 2002): 471–84. http://dx.doi.org/10.1162/002409402320774303.

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This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.

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Fisher, Michelle Millar, i Anne Swartz. "Why Digital Art History?" Visual Resources 30, nr 2 (3.04.2014): 125–37. http://dx.doi.org/10.1080/01973762.2014.908098.

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Boqiao, Wang. "Digital art in China". Technoetic Arts 10, nr 2 (1.12.2012): 145–49. http://dx.doi.org/10.1386/tear.10.2-3.145_7.

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Nash, Adam. "Art imitates the Digital". Lumina 11, nr 2 (30.08.2017): 110–25. http://dx.doi.org/10.34019/1981-4070.2017.v11.21441.

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Where is art in the digital era? This essay identifies the digital as an abstract, formal system. Since art has always relied on formal, abstract systems to carry and deliver itself, what are the implications for art in the digital era? Is the digital a site for art, or is it the other way around? Can there be digital art? Identifying limit and boundary problems as the crucial existential problems for the digital, the essay shows that art has always concerned itself with such problems. This prompts the question as to whether it is possible that human existence and art become the same thing in the digital. Because the digital is currently primarily manipulated in the service of globalist economics, this is clearly not (yet) the case, so what does this mean for art? The essay then briefly examines the self-declared movements of dada, post-digital and post-internet art, concluding that these movements are not capable of questioning the digital as digital, before going on to examine some artists whose practice may be providing guiding lights toward a genuinely digital art.

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Trimarchi, F., E. Martino i L. Bartalena. "Acromegaly in digital art". Journal of Endocrinological Investigation 42, nr 11 (12.04.2019): 1387–88. http://dx.doi.org/10.1007/s40618-019-01049-y.

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Shin, Jun-Hyouk. "Waiting for Digital Art - digital vs analogue". Journal of the Korean Academy of Esthetic Dentistry 22, nr 1 (10.11.2013): 22–29. http://dx.doi.org/10.15522/kist.2013.22.1.022.

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Sandberg, Yorick, Bart A. van de Wiel i Esther van Meerten. "Digital Acrometastasis". Arthritis & Rheumatology 67, nr 5 (27.04.2015): 1410. http://dx.doi.org/10.1002/art.39053.

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Innocenti, Perla. "Preventing Digital Casualties: An Interdisciplinary Research for Preserving Digital Art". Leonardo 45, nr 5 (październik 2012): 472–73. http://dx.doi.org/10.1162/leon_a_00448.

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There are practical problems associated with documentation, preservation, access, function, context and meaning of digital art. How do we care for similar works, and which are the theoretical and methodological challenges for curating and preserving digital art? Upon an ongoing case-based investigation of current digital and media art conservation practices at leading international museums, The author investigates how conservation for digital art could benefit from interdisciplinary synergies with Digital Preservation, Art Theory, and Information Management. A longer version of this paper entitled ‘Evolution and preservation of digital art: case studies from ZKM’, was presented at the Association of Art Historians (AAH) Conference 2010, University of Glasgow, United Kingdom.

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Garon, Jon M. "Commercializing the Digital Canvas". 2013 Fall Intellectual Property Symposium Articles 1, nr 4 (marzec 2014): 837–72. http://dx.doi.org/10.37419/lr.v1.i4.2.

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Over the past two decades, a series of trends in constitutional and intellectual property have significantly reshaped the impact of traditional intellectual property laws for the art community. Attribution of a work to the artist and protection of the integrity of a work from alternation are historical bedrocks of artistic protections, but those protections have been diminished for digital artists. The Visual Artists Rights Act excludes digital works from the definition of works of visual art, thus excluding these works from rights of attribution and integrity. At the time, rights of attribution and integrity were seen as quasi-trademark rights, and artists were protected under the Lanham Act. Since then, however, the Supreme Court has extended copyright’s preemption over trademark, undermining an artist’s ability to have non-contractual protections for the artist’s identity and integrity in a work. In addition, a second trend within the digital environment has created additional tensions for artists whose works include celebrities, athletes, or other members of the public. The Supreme Court has made the clear determination that video games are entitled to complete First Amendment protection, placing those works in the same category as film, publishing, and works of art. Despite this free speech protection to the medium, a series of inconsistent decisions among state and federal courts have made unclear when the use of a person’s likeness in a video game—or video art instillation—would constitute a violation of the person’s rights of publicity.

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van der Meulen, Sjoukje. "Going Digital? New Media and Digital Art at the Stedelijk". Arts 8, nr 3 (1.08.2019): 97. http://dx.doi.org/10.3390/arts8030097.

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The Stedelijk Museum in Amsterdam, The Netherlands, has an extensive collection of time-based media art from the 1960s onwards, which has been expanded into the digital field in recent decades. The Stedelijk makes an interesting case study for this special issue on “Art Curation: Challenges in the Digital Age,” because it has had a reputable history of dealing with time-based art since the mid-1970s but presently faces the same challenges with regard to curating and collecting digital art as other museums of modern art. The Stedelijk’s history began in 1974, when the first curator for time-based art was hired, Dorine Mignot, a pioneer in this field. After Mignot’s retirement in 2006, the museum was closed for almost a decade, but under the leadership of Beatrix Ruf (2014–2017), an innovative agenda was set again for new media and digital art. In this paper, Sjoukje van der Meulen mobilizes the museum’s rich and varied history of new media and digital art to think through some of the issues, challenges and concerns raised by guest editor Francesca Franco for this special issue such as “What are the issues involved in re-contextualizing and exhibiting artworks made in the 1960s and the 1970s?” and “What are [adequate] curatorial approaches regarding digital art?”

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Bury, Stephen. "Digital dimensions revisited". Art Libraries Journal 46, nr 2 (kwiecień 2021): 40–43. http://dx.doi.org/10.1017/alj.2021.3.

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What happened after the Art history in digital dimensions report of 2017? To what extent have the recommendations been implemented? Has digital art history itself changed in this period? Are the challenges and recommendations outlined in the report still pertinent? What is the role of or is there a role in digital art history for the art librarian in an academic or museum setting?

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Serbin, V. A. "Glitch art: critical practices of digital culture". Gumanitarnaya informatika, nr 9 (1.06.2015): 88–97. http://dx.doi.org/10.17223/23046082/9/7.

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이지연. "Exploring Quality Digital Storytelling in Digital Art Education". Journal of Research in Art Education 14, nr 2 (lipiec 2013): 123–39. http://dx.doi.org/10.20977/kkosea.2013.14.2.123.

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Meeken, Luke. "From Digital Literacy to Critical Digital Ecology: Curricula as Digital Places in Art Education". Visual Arts Research 50, nr 1 (2024): 91–108. http://dx.doi.org/10.5406/21518009.50.1.08.

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Abstract This article makes a case for the critical potential of media ecology frameworks to address the limits of the media literacy frameworks prevalent in visual culture art education pedagogies that focus on art education with digital materials. In this article, I articulate a brief history of the literacy metaphor in visual culture art education, before summarizing recent arguments advocating for a shift from media literacy to media ecology in critical digital pedagogies. I then examine my own digital curricular place-craft in the development of Crafting Digital Places, a Web-based teaching resource that played a part in a series of remotely taught summer camp programs focusing on critical digital place-craft. In this article, I aim to illustrate the critical and practical limits of engaging digital materials via the literacy metaphor. I also aim to show how a media ecology approach—framing digital systems as places with agentic material qualities—affords art educators distinctive potentials for critical practice and curriculum design.

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Srivastava, Anshu. "DIGITAL ART: A REVOLUTIONARY FORM OF ART & VISUAL COMMUNICATION". International Journal of Research -GRANTHAALAYAH 7, nr 11 (30.11.2019): 83–88. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3705.

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In this age of technology our life revolves around 2D; 3D images & graphics. Creativity has now crossed all the limits it can’t be restricted to brush and canvas. With the advent of various innovative software’s designing is on the bloom and art become flawless. Digital art is harmony with good knowledge of design software enables us enter into the digital media industry. Today when everything around us become digitalized, the art are taking this step toward the digital world as well. The digital art is a most accepted form of art in the contemporary Indian art. This revolutionary form of art has given a new dimension of art, painting, sculpture and communication. Digital art is created by artist with the help of the computer and sometime modified by computer software. It also creates a subtle difference between design and art. Digital art is the outcome of creativity and computer technology.

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Gupta, Sonali. "THE RISE OF DIGITAL ART". International Journal of Research -GRANTHAALAYAH 7, nr 11 (30.11.2019): 161–64. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3729.

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The medium of digital art has existed for over a hundred years, but it’s only now that it’s getting the spotlight. Technology is a means of actions. Like a pencil or a canvas. Digital technology is the latest of a series of tool used by artist. According to digital artist “To me, my mouse, keyboard and text editor or DAW are what a paint brush palette and canvas would be to a painter. Traditional art workflow can be emulated in the digital domain or be augmented with digital practices. Digital art is defined as artistic works that utilized digital technology as part of the creative process.

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Greenspun, Philip, i John Watkinson. "The Art of Digital Audio". Computer Music Journal 14, nr 1 (1990): 80. http://dx.doi.org/10.2307/3680121.

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Scalzo, Ted. "The Art of Digital Music". Music Educators Journal 92, nr 5 (maj 2006): 30–31. http://dx.doi.org/10.2307/3878498.

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Aliyev, E. V. "Art Process in Digital Painting". Art & Culture Studies, nr 2 (czerwiec 2021): 406–19. http://dx.doi.org/10.51678/2226-0072-2021-2-406-419.

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Article is devoted to the research of art process features in digital painting. The retrospective analysis of art process in digital painting is reviewed. By means of the Venn diagram the basic properties of creative process in digital and non-digital painting are compared. It is shown that the art product of digital painting is coded into the computer. The big advantage of digital painting is that realizing an art plan, the artist can put new strokes, keeping thus each variant as the separate original. Besides, art process is realized, mainly, not on a stretcher but on a virtual plane — the computer monitor. It is established that the modern fine arts and technologies develop in the conditions of interference and interdependence.

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Post, Colin. "The Art of Digital Curation". Archivaria, nr 92 (6.01.2022): 6–47. http://dx.doi.org/10.7202/1084738ar.

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Artists have long engaged with digital and networked technologies in critical and creative ways to explore both new art forms and novel ways of disseminating artworks. Net-based artworks are often created with the intent to circulate outside traditional institutional spaces, and many are shared via artist-run platforms that involve curatorial practices distinct from those of museums or commercial galleries. This article focuses on a particular artist-run platform called Paper-Thin, characterizing the activities involved in managing the platform as digital curation in a polysemous sense – as both the curation of digital artworks and the stewardship of digital information in a complex technological ecosystem. While scholars and cultural heritage professionals have developed innovative preservation strategies for digital and new media artworks housed in institutional collections, the ongoing care of artworks shared through networked alternative spaces is largely carried out co-operatively by the artists and curators of these platforms. Drawing on Howard Becker’s sociological theory of art worlds as networks of co-operative actors, this article describes the patterns of co-operative work involved in creating, exhibiting, and then caring for Net-based art. The article outlines the importance, for cultural heritage professionals, of understanding the digital-curation practices of artists, as these artist-run networked platforms demonstrate emergent approaches to the stewardship of digital culture that move beyond a custodial paradigm.

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van Ginhoven, Sandra, i Claartje Rasterhoff. "Art Markets and Digital Histories". Arts 8, nr 3 (21.08.2019): 105. http://dx.doi.org/10.3390/arts8030105.

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This Special Issue of Arts investigates the use of digital methods in the study of art markets and their histories. Digital art history or historical research facilitated by computer-technology in general is omnipresent in academia and increasingly supported by an infrastructure of seminars, workshops, networks, journals and other platforms for sharing results, exchanging notes and developing criticism. As the wealth of historical and contemporary data is rapidly expanding and digital technologies are becoming integral to research in the humanities and social sciences, it is high time to reflect on the different strategies that art market scholars employ to navigate and negotiate digital techniques and resources.

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Chung, Sheng Kuan. "Art Education Technology: Digital Storytelling". Art Education 60, nr 2 (marzec 2007): 17–22. http://dx.doi.org/10.1080/00043125.2007.11651632.

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Gere, Charlie. "Review: Christiane Paul, Digital Art". Art Book 11, nr 1 (22.12.2003): 45–46. http://dx.doi.org/10.1111/j.1467-8357.2004.00383.x.

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Nitsche, Michael. "Performance art and digital media". Digital Creativity 24, nr 2 (czerwiec 2013): 93–95. http://dx.doi.org/10.1080/14626268.2013.806333.

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Coles, Laura Lee, i Philippe Pasquier. "Digital eco-art: transformative possibilities". Digital Creativity 26, nr 1 (2.01.2015): 3–15. http://dx.doi.org/10.1080/14626268.2015.998683.

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Wands, Bruce. "2001: A Digital Art Odyssey". Leonardo 34, nr 5 (październik 2001): 397–400. http://dx.doi.org/10.1162/002409401753521494.

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Corder, P. F. "Digital detectives reveal art forgeries". Computing in Science & Engineering 7, nr 2 (marzec 2005): 5–8. http://dx.doi.org/10.1109/mcse.2005.30.

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Broeckmann, A., i A. Jaimes. "Digital culture, art, and technology". IEEE MultiMedia 12, nr 4 (październik 2005): 9–11. http://dx.doi.org/10.1109/mmul.2005.68.

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Rutten, Kris. "Participation, Art and Digital Culture". Critical Arts 32, nr 3 (4.05.2018): 1–8. http://dx.doi.org/10.1080/02560046.2018.1493055.

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Carlton, Natalie R. "Digital culture and art therapy". Arts in Psychotherapy 41, nr 1 (luty 2014): 41–45. http://dx.doi.org/10.1016/j.aip.2013.11.006.

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Lughi, Giulio. "Digital Media and Contemporary Art". Mimesis Journal, nr 3, 2 (1.12.2014): 43–52. http://dx.doi.org/10.4000/mimesis.686.

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Drucker, Johanna, Malcolm McCullough, Mary Anne Moser, Douglas MacLeod, Hulbertus v. Amelunxen, Stefan Iglhaut, Florian Rotzer i in. "Art and the Digital Revolution". Art Journal 58, nr 1 (1999): 107. http://dx.doi.org/10.2307/777898.

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Бойко, Константин. "NFT to protect Digital Art". Law & Digital Technologies 3, nr 1 (2023): 35. http://dx.doi.org/10.18254/s278229070026281-5.

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Emergence of non-fungible tokens (NFTs) has led to considerable changes in the creative industries markets associated with the emergence of fundamentally new opportunities for the transfer and protection of intellectual property rights. The explosive growth of the NFT market has led to close attention of both regulators and market participants to the problems of legal regulation of the turnover of these digital assets. The lack of a legal definition gives rise to problems related to the delimitation of NFTs from other digital assets named in the legislation. This article examines the legal nature of NFTs, distinguishes them from securities, digital rights, digital financial assets, digital currencies and utilitarian digital rights. The author analyses the draft law on NFT and draws conclusions about the prospects for legal regulation with special emphasis on the legal problems of acquiring NFTs. Based on the study, the author concludes that it is possible to classify NFT as "other property" and that it is necessary to develop a special legal regime.

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Day, Kevin T. "The Medium Is the Environment: Digital materialism, climate crisis and digital art as pedagogy". International Journal of Education Through Art 19, nr 1 (1.03.2023): 69–82. http://dx.doi.org/10.1386/eta_00119_1.

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This article examines the environmental implications of ubiquitous information and communication technologies (ICT) manufacturing, operations and usage, using the theories of new materialism and digital materialism, and offers an interactive video installation as a case study for contemporary digital art’s pedagogical potential in response to such environmental issues. Contrary to the imageries of the cloud and the notion of immateriality as promoted by the tech industry, digital media systems are grounded in the material world and operate at the expense of the material substrate. Such a sociopolitical landscape warrants an exploration of potential counter tactics in the fields of digital art and art education. Being informed by digital materialism and hinged on the notion that encounters with contemporary art can cultivate critical and different ways of knowing, this article proposes that a focus on the material can function as an antithesis to the abstracting act of information/data and its purported immateriality.

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Artykuły w czasopismach na temat „Digital art”

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