Artigos de revistas: "Art and technology"

1

Chestney-Harvey, Kim. "Art + technology." ACM SIGGRAPH Computer Graphics 45, no. 1 (February 2011): 1–6. http://dx.doi.org/10.1145/1982562.1982566.

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Carlisle, Anne. "Art & Technology: Interactive Art." Circa, no. 73 (1995): 18. http://dx.doi.org/10.2307/25562848.

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Adie, Anthonia Ugiebeme. "Art and Technology: Graphic art." International Journal of Arts and Social Science 5, no. 3 (March 20, 2023): 252–67. https://doi.org/10.5281/zenodo.7751120.

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The emergence of technologies has led to advancement in art production. Over the years, the field of art has witnessed a great transformation as a result of technology. Technology has redefined the art field in terms of art materials, medium and means of production thereby giving art a different dimension. Contemporary art practices are far appreciated now than before as a result of the fusion of technology. Graphic art practices have changed rapidly from what it used to be before early 19th century. There are technologies that have been used by graphic artists in creating suitable designs for the general public consumption. The areas of photography, printing, advertisement, branding, product design, packaging and publishing have better experiences by the public due to technological advancements through the creation graphic tools and medium totally different from the traditional means of graphics that are becoming obsolete. The use of technology in graphic art is inevitable. Graphic designers approach their creative dexterity by exploring available technologies in the execution of their works. How technology impacts their creative ingenuity is what this paper attempts to address. This paper also investigates the relationship between art and technology in graphic art practice taking into cognizance their advantages and disadvantages

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4

Allen, Barry. "The Art of Technology and the Technology of Art." Roczniki Kulturoznawcze 13, no. 4 (December 31, 2022): 21–23. http://dx.doi.org/10.18290/rkult22134.1.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.

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Vandiver, Pamela, and Jim Druzik. "Art and Technology." MRS Bulletin 17, no. 1 (January 1992): 14–17. http://dx.doi.org/10.1557/s0883769400043189.

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Art has as many meanings as contexts in which it operates. It can mean surface decoration or the integral sum of parts and whole which a historian analyzes as structure using visual, musical, theatrical or other criteria. Art serves as decoration, but also serves to signal or sign a particular meaning. Art often confers an elite social status on its patrons or provides goods which support the power and prestige of a special group or person. Art is also used to describe the experience of viewers, usually as “aesthetic experience”; for instance, we experience art as beauty, as a shared emotional experience or empathetic understanding, or as interactive play or a process of performance by which we investigate or relate ideas, occurrences, or objects and give them meaning.Technology, in contrast, is usually defined as “praxis” and involves doing things, as a craft practice involving materials selection and refinement, followed by making those materials into useful things, artifacts, or objects which serve useful functions for individuals, a social group, class, or culture. The products of technology can be useful as tools that enable a task to be accomplished, or as products which satisfy subsistence needs, or devices, or even practical ideas. When put to use, they enable travel, communication, transportation of goods, or control of energy. But technology has another meaning which is often thought to be less useful, namely technical marvels—things which amaze or surprise us. Some examples are the mechanical automatons of the 17th and 18th centuries, the latest computer game, a special way of hearing or seeing, or even the gas and light spewing magic machines described as being used in Greek temples to get peoples' attention. Another example is the technology described by the 11th century monk Theophilus, used to equip a church, from bells and censors, to glass windows and painted walls. In these examples, doing technology or learning to use technological marvels is a way of almost magically extending our own power and understanding beyond ourselves.

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Utida, Yositika. "Technology and Art." TRENDS IN THE SCIENCES 2, no. 9 (1997): 18–21. http://dx.doi.org/10.5363/tits.2.9_18.

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O'Brien, Paul. "Art and Technology." Circa, no. 44 (1989): 15. http://dx.doi.org/10.2307/25557394.

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Förster, Yvonne. "Art and Technology." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 122–34. http://dx.doi.org/10.1515/yewph-2018-0009.

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AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds.

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9

Rajcetic, Zdravko. "Art and technology." Kultura, no. 136 (2012): 123–29. http://dx.doi.org/10.5937/kultura1236123r.

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Miller, Paul. "Art & technology." IEEE Spectrum 35, no. 7 (July 1998): 19. http://dx.doi.org/10.1109/mspec.1998.8362901.

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Hajar, Rachel. "Art, Medicine and Technology." Heart Views 15, no. 4 (2014): 135. http://dx.doi.org/10.4103/1995-705x.151097.

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12

Shopina, E., and M. Markova. "KASLI ART CASTING TECHNOLOGY." Technical Aesthetics and Design Research 2, no. 2 (December 16, 2020): 29–36. http://dx.doi.org/10.34031/2687-0878-2020-2-2-29-36.

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The Kasli art casting technology is characterized by its uniqueness; the products are distinguished by precision of execution and uniqueness of style. The Kasli Casting Plant occupies a well-deserved first place in Russia in terms of quality and quantity of products. The object of the research is the features of each of the stages when creating of Kasli castings, as well as the distinctive features of the art casting technology. As a result of the study, the conclusion was formulated that the historical role of Kasli art casting is its influence on the decorative and applied art of Russia. According to the authors, the Kasli plant influenced the further production of castings, producing high-quality products with careful study of details, ensuring a high level of quality for the foundry workers

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13

Malina, Roger F., and Peter Hill. "Art, Science and Technology." Leonardo 23, no. 1 (1990): 146. http://dx.doi.org/10.2307/1578487.

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Ascott, Roy. "Art, Technology and Consciousness." Convergence: The International Journal of Research into New Media Technologies 4, no. 3 (September 1998): 110–13. http://dx.doi.org/10.1177/135485659800400315.

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15

Diana, Maurizio. "On art and technology." World Futures 40, no. 1-3 (July 1994): 119–21. http://dx.doi.org/10.1080/02604027.1994.9972426.

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Arnold, Marion. "WOMEN, ART, AND TECHNOLOGY." Art Book 12, no. 3 (August 2005): 61–62. http://dx.doi.org/10.1111/j.1467-8357.2005.587_6.x.

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17

Janda, Richard. "Teaching, Art and Technology." Revue internationale des technologies en pédagogie universitaire 1, no. 1 (2004): 33. http://dx.doi.org/10.18162/ritpu.2004.31.

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18

Kuniyasu, Yo. "The Temporal Art Technology." Journal of the Society of Mechanical Engineers 96, no. 890 (1993): 17–20. http://dx.doi.org/10.1299/jsmemag.96.890_17.

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19

Austen, Kat. "Exploring technology in art." New Scientist 210, no. 2813 (May 2011): 46. http://dx.doi.org/10.1016/s0262-4079(11)61205-0.

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20

TOSA, Naoko. "ART & Technology : An Interactive Art Utilizing Fuzzy Technology : MIC & MUSE." Journal of Japan Society for Fuzzy Theory and Systems 9, no. 5 (1997): 648–55. http://dx.doi.org/10.3156/jfuzzy.9.5_648.

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21

Freedman, Kerry. "Visual Art/Virtual Art: Teaching Technology for Meaning." Art Education 50, no. 4 (July 1997): 6. http://dx.doi.org/10.2307/3193647.

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22

Firestein, Gary S., and David S. Pisetsky. "DNA microarrays: Boundless technology or bound by technology? Guidelines for studies using microarray technology." Arthritis & Rheumatism 46, no. 4 (April 2002): 859–61. http://dx.doi.org/10.1002/art.10236.

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23

Bezklyubenko, Sergey. "Poetics as Technology." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 1, no. 2 (December 21, 2018): 31–39. https://doi.org/10.31866/2616-759x.2.2018.153221.

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The purpose of the article is to find out the technology role in art in general and in theater in particular. The prerequisite of such question is the indisputable fact that art, regarded as artistic creation, is one of the production types. This truth is fixed by language practice: an object of art (artifact) has long been called a work, that is, a product of production. Being a special (“spiritual”, and at the same time – artistic!) Production, art in general, and theatrical in particular, has all the basic properties of “production in general”, including organizational, economic and technological. Research methods. Historical is to study the evolution forms of production (including artistic); systemic is when considering an art work as a special, “closed”  interaction system of its components is worldview (ideological), psychological, technical and technological; general scientific analysis and synthesis are to build a scientific art concept as a knowledge means, expression and creation. The scientific novelty of the research consists in the fact that for the first time a special significance in the technology artistic creation has been proved. Defining, as in ordinary production, that is, the material goods production, the social organization forms of labor (individual production, cooperation, manufactory, factory, industry), the artistic creativity technology, moreover, characterizes the specifics of each art type with its “craft”, “industrial” side. Conclusions. Art is considered as production (spiritual, and at the same time, artistic, but production!) And technology as the logic of this production proves that technology is not only “hostile” to art, but, on the contrary, it is deeply inherent in it: it represents the art poetics and determines the specifics of each art form from its practical, “craft”, side.

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24

Voronin, Stan, and Bulat Galeyev. "Man: Art: Technology: The Problem of Synesthesia in Art." Leonardo 27, no. 5 (1994): 449. http://dx.doi.org/10.2307/1576112.

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25

Shanken, Edward A. "Art in the Information Age: Technology and Conceptual Art." Leonardo 35, no. 4 (August 2002): 433–38. http://dx.doi.org/10.1162/002409402760181259.

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Art historians have generally drawn sharp distinctions be-tween conceptual art and art-and-technology. This essay reexamines the interrelationship of these tendencies as they developed in the 1960s, focus-ing on the art criticism of Jack Burnham and the artists in-cluded in the Software exhibition that he curated. The historiciza-tion of these practices as distinct artistic categories is examined. By interpreting conceptual art and art-and-technology as reflections and constituents of broad cultural transformations during the information age, the author concludes that the two tenden-cies share important similarities, and that this common ground offers useful insights into late-20th-century art.

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Tytar, Olena, and Nikita Dronov. "PHILOSOPHY OF DIGITAL ART: SYNERGY OF ART AND TECHNOLOGY." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 69 (June 30, 2024): 26–31. https://doi.org/10.26565/2306-6687-2024-69-03.

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The goal is to study the philosophical and anthropological dimension of computerization and digitalization of humanity and their influence on modern art. Research methods — historical and philosophical, philosophy of art, analytical method, synergetics. Scientific novelty. An examination of the evolution of digital art growing out of technology - from digital photography and computer graphics to the use of artificial intelligence in the creation of new artistic images. The former reproducibility of the technical image is complemented by a new understanding of creativity and innovation in digital art, where the problem of authorship and co-authorship is exacerbated as much as possible. A new synergy of art and technology is proposed, which requires philosophical reflection. Conclusions. The revolution of convergence of technologies (Converging Technology) or the revolution of NBIC (NBIC) as a combination of nano-, biotechnologies and cyber-information technologies is a new stage of scientific and technical progress, it has a strong influence on modern culture and art. The synergy of art and technology is revealed in the fact that even a new way of technological representation of the image provides a new unseen aesthetic, the emergent nature of this image is simulative and repetitive, and at the same time innovative. Thus, art created by artificial intelligence can create new unique combinations, in fact it can vary endlessly. Art allows us to articulate and present unexplored ideas, concepts, and phenomena, contributing to debate, changes in aesthetic ideals and social progress. The ability of digital art to transform physical or bodily modes of perception is important, providing new anthropological opportunities for artistic expression and public understanding. In addition, contemporary art has an important aesthetic and ethical impact on sociocultural transformation in the context of contemporary social changes.

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Rush, Michael, Philip Glass, Robert Wilson, Gary Hill, Meg Stuart, and Damaged Goods. "Art Extensions: Technology and Performance." PAJ: A Journal of Performance and Art 21, no. 2 (May 1999): 57. http://dx.doi.org/10.2307/3246004.

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Kiang, Tanya. "Art & Technology: Open Channel." Circa, no. 76 (1996): 43. http://dx.doi.org/10.2307/25562966.

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Borgmann, Albert, and Carl Mitcham. "Technology between Art and Religion." Philosophy Today 31, no. 2 (1987): 140–62. http://dx.doi.org/10.5840/philtoday198731210.

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Chung, Sheng Kuan. "Art Education Technology: Digital Storytelling." Art Education 60, no. 2 (March 2007): 17–22. http://dx.doi.org/10.1080/00043125.2007.11651632.

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31

Biswas, Amitava. "Managing art technology research collaborations." International Journal of Arts and Technology 1, no. 1 (2008): 66. http://dx.doi.org/10.1504/ijart.2008.019883.

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Peterson, Brent C., Kay Stovall, David E. Elkins, and Barbara Parker-Bell. "Art Therapists and Computer Technology." Art Therapy 22, no. 3 (January 1, 2005): 139–49. http://dx.doi.org/10.1080/07421656.2005.10129489.

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33

Kanigel, Robert. "Technology as a Liberal Art." Change: The Magazine of Higher Learning 18, no. 2 (April 1986): 20–30. http://dx.doi.org/10.1080/00091383.1986.9937052.

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34

Broeckmann, A., and A. Jaimes. "Digital culture, art, and technology." IEEE MultiMedia 12, no. 4 (October 2005): 9–11. http://dx.doi.org/10.1109/mmul.2005.68.

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Skregelid, Lisbet. "BAD: Body – Art – Digital technology." Nordic Journal of Art & Research 13, no. 3 (December 16, 2024): 1–26. https://doi.org/10.7577/ar.5454.

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During the first lockdown in March 2020, I started running two to three times a week to a nearby beach. Since then, I have stopped each time about halfway, and have been filming the sea view from the same spot for 30 seconds with my mobile phone. The now over 550 films (October 2024) are stored on the digital platform Padlet that makes it possible to share with others. The project My stunning stream - Made with a little mischief (Skregelid, 2020-) makes use of a/r/tography which is a practice-based methodological approach that unites art, education, and research. A/r/tography explores art, research and education as forms of performative, explorative and lived inquiry, and thereby stretches the boundaries between these domains. This article draws attention to how the body and digital technology are entangled and interwoven in this project, and how this affective connectedness offers potentials for enabling ecological awareness in educational settings. It makes use of theories that consider bodies and technologies as united intra-actions and that are concerned with how to live your life in the world. Photo: Libeth Skregelid

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36

Spalter, Anne. "Adventures in art and technology." Journal of Mathematics and the Arts 14, no. 1-2 (April 2, 2020): 138–40. http://dx.doi.org/10.1080/17513472.2020.1732806.

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37

Kerlow, Isaac V. "Art + design + computer graphics technology." Communications of the ACM 34, no. 7 (July 1991): 30–39. http://dx.doi.org/10.1145/105783.105786.

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Armaroli, Luciano. "Technology and art against cancer." Lancet 353, no. 9149 (January 1999): 332. http://dx.doi.org/10.1016/s0140-6736(05)74887-x.

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Klipstein, P. C. "Photoconductivity, Art, Science and Technology." Journal of Modern Optics 38, no. 6 (June 1991): 1203. http://dx.doi.org/10.1080/09500349114551231.

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40

Whale, George. "Art, Technology and Symmetrical Collaborations." Journal of Visual Art Practice 1, no. 2 (July 2001): 80–88. http://dx.doi.org/10.1386/jvap.1.2.80.

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Carrier, David, and Didier Maleuvre. "Museum Memories. History, Technology, Art." Journal of Aesthetic Education 35, no. 2 (2001): 122. http://dx.doi.org/10.2307/3333680.

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Gangadharan, Seeta Peña. "Mail art: networking without technology." New Media & Society 11, no. 1-2 (February 2009): 279–98. http://dx.doi.org/10.1177/1461444808099581.

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Ellul, Jacques. "Remarks on Technology and Art." Bulletin of Science, Technology & Society 21, no. 1 (February 2001): 26–37. http://dx.doi.org/10.1177/027046760102100105.

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Rickey, George. "A Technology of Kinetic Art." Scientific American 268, no. 2 (February 1993): 74–79. http://dx.doi.org/10.1038/scientificamerican0293-74.

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Cass, S. "Electronic realism [art and technology]." IEEE Spectrum 38, no. 3 (March 2001): 68–73. http://dx.doi.org/10.1109/6.908875.

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Kozhagulov, Aidyn, Bauyrzhan Zhankushkov, Miyat Dzhanaev, Maria Derbissova, Tolkun Zhumasheva, and Sultan Bodan. "Competence development through art technology." World Journal on Educational Technology: Current Issues 14, no. 6 (November 28, 2022): 1795–806. http://dx.doi.org/10.18844/wjet.v14i6.8339.

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The purpose of this research; is to evaluate the competence development process through art technology through the eyes of students studying in the visual arts and drawing department. The study group of the research consists of 40 visual arts and drawing department students studying at various universities in Kazakhstan. Research data were collected by semi-structured interview technique. The descriptive analysis technique was used in the analysis of the interviews with the students who constitute the sample group of the research. As a result of the research; it has been determined that the majority of visual arts and drawing students have moderate technological competencies. The majority of visual arts and painting students stated that they found the education opportunities related to art technology at a moderate level in the education they received at the university. The majority of the students participating in the research stated that technology integration into art education is very necessary. The vast majority of visual arts and drawing students stated that it is possible to gain competence through art technology. Keywords: Art technology, competence development, student opinions;

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Boothroyd, S. A. "Photoconductivity, art, science and technology." Optics and Lasers in Engineering 15, no. 4 (January 1991): 283–84. http://dx.doi.org/10.1016/0143-8166(91)90070-a.

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Iskakova, Zhansaya, Roza Kassymova, Tansholpan Zhamalova, Anel Chalimbayeva, and Kamilya Utegenova. "New Art Therapy Technology – Quilling." Harmonia: Journal of Arts Research and Education 23, no. 2 (December 31, 2023): 279–89. http://dx.doi.org/10.15294/harmonia.v23i2.43676.

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This research work aims to study the main features of quilling technology in art therapy, as well as its impact on group and individual consciousness. The study’s methodological approach was the search and theoretical analysis of thematic literature studying the quilling technique of art therapy, as well as art therapy in general. In this article, the theoretical method, the method of comparative analysis, as well as the method of pedagogical experiment were used. As a result of the scientific research, the technology of art therapy as such was analysed, and its components and influence on children and adults were studied. Also, after performing a pedagogical experiment, the influence of quilling technology on students of Al-Farabi Kazakh National University was studied, and the results were analysed. According to the results of the pedagogical experiment, quilling art has a positive effect on individuals, as well as on the general mood of the group, and the use of the quilling technique as an art-therapeutic tool brings positive changes to the psychosomatics of an individual and a group in general. This research work is of practical importance in the study of the art of quilling as an art-therapeutic method in the development of fine motor skills in the hands of adults and children, as well as the improvement of the psychological state after psychological traumas of various kinds.

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Bower, Rudi. "Heidegger, art, technology and luthiery." Acta Academica: Critical views on society, culture and politics 41, no. 4 (December 18, 2009): 1–22. https://doi.org/10.38140/aa.v41i4.1224.

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Luthiery – the building of stringed instruments – is historically a discipline that has to a large extent evaded philosophical inquiry. This article seeks to explore the artistic and technological attributes of luthiery – with reference to guitar builders, in particular – using the thought of Martin Heidegger. His return to ancient Greek philosophy in determining the modes of technology and its initial close association with art will be interrogated and ultimately used to show that in luthiery, as practised by solitary luthiers as opposed to mass-produced factory instruments, both art and technology constitute a mode of revealing in the ancient Greek sense. This mode of revealing will be scrutinised as intrinsically inherent in luthiery by way of the roles of the materials used, the artist, the creation as well as the difference between works of art and equipment. Interviews conducted with leading South African guitar builders will provide substantiating material in this regard.

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Campbell, Mary K. "Art in technology: A photo essay demonstrating the close relationship between art and technology." IEEE Potentials 6, no. 4 (December 1987): 9–11. http://dx.doi.org/10.1109/mp.1987.6500850.

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Artigos de revistas sobre o tema "Art and technology"

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