Готові списки джерел за темами / Digital artwork

Добірка наукової літератури з теми "Digital artwork"

Автор: Grafiati
Опубліковано: 22 червня 2024

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Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій
  6. Звіти організацій

Статті в журналах з теми "Digital artwork":

1

Gibson, Steve. "Being Formal without Being a Formalist." Leonardo 54, no. 6 (2021): 625–30. http://dx.doi.org/10.1162/leon_a_02056.

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Abstract This article argues for the value of using formal models within the (digital media) artwork. Eschewing the antiformalism common to much of postmodernism, it argues for a more active engagement with formal concerns. Without embracing the totalizing theories of late modernist formalism, or discarding the idea of “the concept,” the author argues for a more formal approach to the making of the (digital media) artwork. The goal is to point to models that can be used to intimately connect form and concept rather than treat them as separate or warring entities. The article critically explores three very specific digital media artworks that endeavor to bridge the gap between formalism and conceptualism, each pointing to indicative (but not exhaustive) methods for reuniting form and concept.
2

Lyubchenko, Irina. "What is Art?" Interactive Film & Media Journal 2, no. 3 (June 23, 2022): 174–90. http://dx.doi.org/10.32920/ifmj.v2i3.1532.

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This paper investigates non-fungible tokens, or NFTs, and examines their place within art historical canon. Crypto-art and crypto-collectibles have flooded digital markets, offering unique art. Recently, Beeple’s Everydays—The First 5000 Days, the first digital artwork fitted with a non-fungible token offered by the major auction house Christie’s, sold for $69,346,250 on March 11, 2021. It is the third most expensive artwork sold by a living artist, following Jeff Koon’s sculpture Rabbit (1986) and David Hockney’s painting Portrait of an Artist (Pool with Two Figures) (1972). While Jeff Koons and David Hockney are the artists, whose theoretical perspectives are well known and have a secured place in an art historical canon, Beeple’s work and works of other digital NFT artists have not been fully investigated to be positioned in relation to art history, seemingly existing in a theoretical vacuum. The absence of artistic statements that usually accompany artworks contributes to this effect. Is it possible to think of the 21st century NFT-backed digital artists as the avant-gardes, who, like their 20th -century predecessors, confronted and condemned the art historical tradition? Using the case study of Beeple’s Everydays, this paper proposes an answer to the puzzling question of how a mosaic of everyday sketches produced by “pooping something out in 45 minutes,” using Beeple’s own words, was claimed to be “the next chapter in art history.” Using historical and textual analyses, this essay provides a critical response to the recent digital artworld trends driven by the decentralized networks and currencies existing in fully digital ecosystems.
3

Zhao, Ziruo, and Jingru Wei. "Blockchain Technology in the Protection and Inheritance of Non-traditional Heritage." British Journal of Philosophy, Sociology and History 2, no. 2 (September 26, 2022): 05–08. http://dx.doi.org/10.32996/pjpsh.2022.2.2.2.

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Intangible cultural heritage is an important part of the excellent Chinese traditional culture. Protecting, passing on, and utilizing intangible cultural heritage is of great significance in continuing the historical lineage, strengthening cultural confidence, promoting civilization exchange and mutual understanding, and building a socialist cultural power. This paper provides a blockchain technology-based method for digital deposition of cultural relics and artworks by digitizing the information of the artwork or the owner of the cultural relic and the artwork itself, and then the digitized file is recorded on a blockchain that cannot be tampered with artificially by deriving a unique fixed digital fingerprint with a hashing algorithm. Through such a method, a complete set of data relationship chain is established between the inheritor (owner), the cultural carrier (cultural relics and artworks), and the physical data (high-definition scanned photos, three-dimensional data models, etc.), which is permanently stored and cannot be tampered with, in order to solve and improve the problems of ownership confirmation, theft prevention, identification and damage prevention in the custody of cultural relics and artworks collection.
4

Abdou, Doaa, and Fatma Elnasr. "PROSPECTS OF INVESTMENT IN DIGITAL ART: CASE OF ETHEREUM AND NON-FUNGIBLE TOKEN (NFT)." Economics & Law 3, no. 2 (December 30, 2021): 20–30. http://dx.doi.org/10.37708/el.swu.v3i2.3.

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This paper focuses on the technology impact via Blockchain to change consumer behavior in the digital art industry. The paper objectives are three folds: first, analyze the impact of Ethereum in selling digital artwork and on the bank world. Second, investigate the effects of Non-Fungible Token on the art industry. Third, highlight how people can sell their artworks, tweets, or even memes for thousands of dollars. Fourth, explain the effect of Ethereum in creating value for artwork and why a meme that includes nothing unique to be sold for an unbelievable price? The paper provides insights on the future of the digital arts industry and the rational behavior of the developers, artists, and even customers, as the three parties shape the business of the NFL’s success. It reflects on the investment behavior in digital arts and the importance of a secure long-term investment for a niche segment that seeks to satisfy their need of acquiring unique products. The paper serves as a guide for digital art and focuses on how AI applications create profitable markets.
5

Li, Kangying, Jiayun Wang, Biligsaikhan Batjargal, and Akira Maeda. "Intuitively Searching for the Rare Colors from Digital Artwork Collections by Text Description: A Case Demonstration of Japanese Ukiyo-e Print Retrieval." Future Internet 14, no. 7 (July 18, 2022): 212. http://dx.doi.org/10.3390/fi14070212.

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In recent years, artworks have been increasingly digitized and built into databases, and such databases have become convenient tools for researchers. Researchers who retrieve artwork are not only researchers of humanities, but also researchers of materials science, physics, art, and so on. It may be difficult for researchers of various fields whose studies focus on the colors of artwork to find the required records in existing databases, that are color-based and only queried by the metadata. Besides, although some image retrieval engines can be used to retrieve artwork by text description, the existing image retrieval systems mainly retrieve the main colors of the images, and rare cases of color use are difficult to find. This makes it difficult for many researchers who focus on toning, colors, or pigments to use search engines for their own needs. To solve the two problems, we propose a cross-modal multi-task fine-tuning method based on CLIP (Contrastive Language-Image Pre-Training), which uses the human sensory characteristics of colors contained in the language space and the geometric characteristics of the sketches of a given artwork in order to gain better representations of that artwork piece. The experimental results show that the proposed retrieval framework is efficient for intuitively searching for rare colors, and that a small amount of data can improve the correspondence between text descriptions and color information.
6

Pasko, Galina, Alexander Pasko, Turlif Vilbrandt, Arnaldo Luis Lixandrão Filho, and Jorge Vicente Lopes da Silva. "Ascending in Space Dimensions: Digital Crafting of M.C. Escher's Graphic Art." Leonardo 44, no. 5 (October 2011): 411–16. http://dx.doi.org/10.1162/leon_a_00241.

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M.C. Escher's artwork has inspired and arguably even informed computer science, as well as geometric and shape modeling. Even today, much of his work poses challenges to conventional digital shape modeling systems. The authors introduce several interesting problems presented by Escher's graphic artworks and describe their use of a novel approach, based on implicit surfaces and their extension (Function Representation), to produce 2D, 2.5D and 3D computer models. They also discuss several physical objects or sculptures based on these models, crafted using digital fabrication processes.
7

Fiordelmondo, Alessandro, Sergio Canazza, and Niccoló Pretto. "Reactivating and Preserving Interactive Multimedia Artworks: An Analog Performance from the Seventies." Journal on Computing and Cultural Heritage 17, no. 2 (March 26, 2024): 1–17. http://dx.doi.org/10.1145/3647995.

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Interactive multimedia art shows a complex nature as it is time- and process-based, interconnected with technology, derived by the participation of several authors (artists, technicians, performers, to name a few) and an audience, and it is strongly tied to the moment and space of the original exhibition. These characteristics make the preservation of these artworks a multifaceted process. Building on the foundations developed since the 2000s by international projects focused on preserving and restoring these new art forms, the paper proposes an original model for achieving dynamic preservation, called “the multilevel preservation model”. Since it is no longer possible to guarantee physical integrity for interactive multimedia artworks, dynamic preservation involves recording all the changes that occur to display the artworks in the future. In other words, it makes it possible to record the dynamic authenticity of artworks. The model proposes two fundamental properties: multiple layering, which allows to handle different levels of information about the artwork; multiple belongingness , which allows to represent the dynamic authenticity of the artwork at the archival level and achieving dynamic preservation. The paper demonstrates the high-level implementation of the model by presenting a case study: the reactivation and preservation of an analog video art performance from the 1970s. This case study proposes an interesting real scenario for testing the model, as the reactivation process involved the migration of the entire analog technological apparatus of the artwork into the digital domain.
8

Sprugnoli, Rachele, Marco Guerini, Giovanni Moretti, and Sara Tonelli. "Are these Artworks Similar? Analysing Visitors’ Judgements on Aesthetic Perception with a Digital Game." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–14. http://dx.doi.org/10.1145/3461663.

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Digital games have been used in the context of a cultural experience for several reasons, from learning to socialising and having fun. As a positive side effect, using digital games in a GLAM environment contributes to increasing the visitors’ engagement and making the collections more popular. Along this line, we present in this article an online game for museum environments that serves two goals: asking users to engage with the artworks in a collection in a playful environment, and collecting their feedback on artwork similarity, which may be used by curators to rethink the organisation of digital exhibitions and in general to better understand how visitors perceive artworks. The game is called PAGANS ( Playful Art: a GAme oN Similarity ), and is designed to collect similarity judgements about artworks. The software was implemented following some principles of gamification in order to quickly leverage similarity information in the cultural heritage domain while increasing user engagement and fun. The game, involving pairs of players, was used during two large public events to collect different data about the players’ behaviour and to investigate how these dimensions correlate with aesthetic perception. A thorough statistical analysis shows that age and (self-declared) gender correlates with the time and the number of moves needed to complete a session. These dimensions also link to the relevance of colour and shape in judging similarity. These findings suggest that, although artwork similarity is very subjective and may vary based on a person’s background, some trends can be identified when considering the subjects’ gender and age. This could have some practical implications; for example, it could be used to support art curators in creating digital exhibitions by grouping artworks in novel, user-centred ways.
9

Deniesa, Salsabilla, Dela Rinanda Putri, Arqam Amrullah, AdrianaMaisarah binti Mohd Farid, and Nor Audra Diana binti Md Hassan. "Copyright Protection for Creators of Digital Artwork." Indonesian Comparative Law Review 4, no. 1 (September 8, 2022): 43–58. http://dx.doi.org/10.18196/iclr.v4i1.15106.

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The development of digital technology can be a double-edged knife for the creative industry. It is undeniable that the ease of obtaining anything from internet can lead to a new problem, one of which is copyright infringement. Copyright of digital artworks should be protected since without which it will harm the rights of art workers who upload their works in the internet. The purpose of this research is to discuss and understand the copyright protection for digital artworks as well as some legal remedies that can be taken against infringement of the exclusive rights of the creators. This normative legal research employs statutory and comparative approach. The study shows that although legal protection for digital artworks has been governed under the Copyright Act 2014 (Law Number 28 of 2014 on Copyright), however its implementation but is still lacking and therefore improvement is necessary. In addition, the awareness of art workers about their rights should also be encouraged.
10

Wang, Rongrong. "Copyright Infringement Liability of NFT Digital Artwork Platforms." Academic Journal of Management and Social Sciences 7, no. 1 (April 27, 2024): 103–8. http://dx.doi.org/10.54097/thk2ay85.

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The development of information technology and the evolution of laws have given rise to new issues and disputes in the determination of platform responsibilities in cases of disputes over internet dissemination rights. With the advancement of the blockchain industry, the Hangzhou Internet Court in China has determined that NFT digital artwork platforms can be deemed as aiding infringement in copyright disputes. This article aims to clarify the role played by platforms in infringement cases by analyzing the technical characteristics of NFT digital artwork platforms. It will also discuss factors in determining the liability of NFT digital artwork platforms based on judicial practices, thereby elucidating the principle of "notice + necessary measures" applicable to these platforms.
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Статті в журналах Дисертації Книги

Дисертації з теми "Digital artwork":

1

Stanley, Michael Leighton. "Digital compositing with traditional artwork." Texas A&M University, 2005. http://hdl.handle.net/1969.1/2643.

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This thesis presents a general method and guidelines for compositing digital characters into traditional artwork by matching a character to the perspective, lighting, style, and complexity of the particular work of art. The primary goal of this integration is to make the resulting image believable, but not necessarily to create an exact match. As a result, the approach used here is not limited to a single rendering style or medium, but can be used to create a very close match for almost any artistic image. To develop and test this method and set of guidelines I created composites using a variety of styles and mediums.
2

McCormick, Sean. "Digital album artwork for the album "This was Tomorrow"." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/35/.

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Thesis (B.F.A.)--California Polytechnic State University, 2009.
Project advisor: Mary LaPorte. Title from PDF title page; viewed on Mar. 10, 2010. Includes bibliographical references. Also available on microfiche.
3

Pentes, Tatiana. "BlackBOX : painting a digital picture of documented memory." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/357.

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This study investigates and records the production of a digital media artwork blackBOX: Painting A Digital Picture of Documented Memory, generated through the media technologies of interactive multimedia, exploiting the creative potentials of digitally produced music, sound, image and text relationships in a disc based and online (Internet) environment. The artwork evolves from an imaginary electronic landscape that can be uniquely explored/ played in a non-sequential manner. The artwork/ ‘game’ is a search for the protagonist Nina’s hybrid cultural identity. This is mirrored in the exploration of random, fragmentary and non-linear experiences designed for the player engaged with the artwork. The subjective intervention of the player/ participant in the electronic artwork is metaphoric of the improvisational tendencies that have evolved in the Greek Blues (Rembetika), Jazz, and Hindustani musical and performative dance forms. The protagonist Nina’s discovery of these musical forms reveal her cultural/ spiritual origins. As a musical composer arranges notes, melodies and harmonies, and sections of instruments, so too, the multimedia producer designs a ensemble of audio-visual fragments to be navigated. Dance also becomes a driving metaphor, analogous to the players movement in and through these passages of image/ sound/ text and as a movement between theories and ideas explored in the content of the program. The central concern is to playfully reverse, obscure, distort the look of the dominating/colonialist gaze, in the production of an interactive ‘game’ and allow the girl to picture herself. One of my objectives is to explore the ways in which social research can be undertaken by the creation of an interactive program in the computer environment utilising interactive digital media technologies. The study reveals that, through the subjective intervention of the (player) user4 with the digital artefact, a unique experience and responsiveness is produced with the open ended text. The work is comprised of a website http://www.strangecities.net; an interactive CD-ROM; a gallery installation; digital photomedia images; and a written thesis documenting and theorising the production. 4 The term user, while widely debated has been in usage from the 1980s to refer to the unique human interaction with the digital artefact, electronic screen work, and computer interface.
4

Yijun, Ding. "The aura of the artwork in the digitalization age : An experimental study based on Benjamin and Baudrillard." Thesis, Uppsala universitet, Institutionen för informatik och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-325739.

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This thesis explores how the aura of the artworks changes in the age of digital reproduction through the empirical experiments conducted in Uppsala Konstmuseum. By employing the definition of the aura given by Benjamin in The work of art in the age of the mechanical reproduction and The arcade project, this thesis conceptualizes the “aura” into eight dimensions and then operationalizes the eight dimensions in order to find whether audience’s evaluation of the artwork changes when they are given different stimulus in the control experiment. From the control experiment, the quantitative data will be obtained from a questionnaire and non-participant observation. The qualitative data will be obtained from the interviews. By also applying the simulacra theory of Baudrillard to the analysis part, this thesis finds that there exists a small difference in the perception of the aura between the people who see a digital copy and who see a real painting. The aura still has its power. However, such power is really weak, as many dimensions of the aura have been weakened by the digital simulacra. Through this study, I suggest the museums to take cautious steps to digitalize their artworks though there is no evidence that virtual museums can replace real museums.
5

Swift, Elizabeth. "The hypertextual experience : digital narratives, spectator, performance." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16025.

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This thesis demonstrates how the dynamics of hypertext fiction can inform an understanding of spectatorial practices provoked by contemporary performance and installation work. It develops the notion of the ‘hypertextual experience’ to encapsulate the particular qualities of active user engagement instigated by the unstable aesthetic environments common to digital and non-digital artworks. The significance and application of this term will be refined through an examination of different works in each of the study’s six chapters. Those discussed are as follows: Performances: Susurrus, by David Leddy; Love Letters Straight from the Heart and Make Better Please, by Uninvited Guests; The Waves, by Katie Mitchell; House/ Lights and Route 1 & 9, by the Wooster Group; Two Undiscovered Amerindians Discover the West, by Coco Fusco and Guillermo Gómez-Peña. Digital works: Afternoon (1987) by Michael Joyce; Victory Garden (1992) by Stuart Moulthrop; TOC by Steve Tomasula; The Princess Murderer by Deena Larsen. Installations: H.G. and Mozart’s House, by Robert Wilson; Listening Post, by Mark Hanson and Ben Rubin. In developing and discussing the hypertextual experience the thesis uses a number of conceptual frameworks and draws on philosophical perspectives and digital theory. A central part of the study employs an adaptation of possible worlds theory that has been recently developed by digital theorists for examining hypertext fiction. I extend this application to installation and performance and explore the implications of framing a spectator’s experience in terms of a hypertextual structure which foregrounds its performative operations and its engagement with machinic processes.
6

Khalfallah, Riahi Sonia. "Performance dansée augmentée et installation interactive performative : possibilités et limites de la co-création." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080069.

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Les œuvres numériques interactives remettent en question le rôle du spectateur. Il est sollicité physiquement et sensoriellement afin de l’inciter à être actif. Dans ce projet de thèse, nous mettons en avant le potentiel créatif enfui dans chaque participant à travers sa gestualité interactive dans la co-création de l’œuvre.À partir de l’exploration des différents gestes performatifs à travers les courants et les disciplines artistiques existants sous forme de performances et d’installations, nous avons identifié et créé le geste performatif recherché dans nos créations artistiques : la gestualité interactive créative et performative. Par ailleurs, dans le cadre de cette recherche-création, la réalisation de performances dansées augmentées et d’installations interactives performatives a été consolidée par l’observation et l’étude des comportements des participants afin de déterminer les possibilités et les limites de la co-création des œuvres réalisées
Interactive digital artworks question the role of the spectator. They solicit him physically and sensually in order to make him active.In this thesis project, we highlight the creative potential embedded in each participant through their interactive gestures in the co-creation of the artwork.Thanks to the exploration of the different performative gestures through existing art movement and disciplines in the form of performances and installations, we identified and created the sought performative gesture in our artistic creations : creative and performative interactive gestures. Moreover, as part of this research-creation, the realization of augmented dance performances and performative interactive installations was consolidated through the observation and the study of the participants’ behavior in order to depict the possibilities and the limits of co-creation in the created artworks
7

Smith, Allison Hope. "162 Springcrest." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231199349606.

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8

Meneses, Luis. "Exploring the biography and artworks of Picasso with interactive calendars and timelines." [College Station, Tex. : Texas A&M University, 2007. http://hdl.handle.net/1969.1/ETD-TAMU-1451.

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9

De, Wild Karin. "Internet art and agency : the social lives of online artworks." Thesis, University of Dundee, 2019. https://discovery.dundee.ac.uk/en/studentTheses/a6a64a92-2edc-44a8-b371-de4a61bdc289.

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During the 1990s, artists started to explore the possibilities of the World Wide Web. This thesis investigates online artworks by studying their agency. Why do people interact with them, as if they are alive? How do they mobilise people, or make them share visions and ideas? Based on research in largely untapped archives, it presents an in-depth examination of several case studies, exploring the artwork's ability to have the power to act in a variety of social settings. Through studying the life trajectory of the artwork, it also offers insights in how these dynamic entities undergo changes over time and across cultures. Grounded in theoretical literature on the agency of art, this research offers an innovative way of understanding Internet art and it contributes to wider conversations about the agency of art and artefacts. Case studies include: Mouchette (Martine Neddam), 'Mouchette' (1996-present). Web project (www.mouchette.org). Collection of Stedelijk Museum (Amsterdam). Shu Lea Cheang, 'Brandon' (1998-1999). Web project (brandon.guggenheim.org). Collection of Solomon R. Guggenheim Museum (New York). Lynn Hershman Leeson, 'Agent Ruby' (1998-2002). Web project (agentruby.sfmoma.org). Collection of SFMOMA (San Francisco).
10

Power, Debby Akam. "The use of digital media in artworks that demonstrate contemporary cultural engagements with the rural environment." Thesis, University of Sunderland, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404642.

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Книги з теми "Digital artwork":

1

Perello, Ibarionex. Photoshop: Inspiring artwork and tutorials by established and emerging artists. [Berkeley, Calif.]: Peachpit Press, 2013.

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2

Tobin, Paul. White cloud worlds: An anthology of science fiction and fantasy artwork from Aotearoa New Zealand. Auckland, N.Z: HarperCollins, 2010.

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3

Tobin, Paul. White cloud worlds: An anthology of science fiction and fantasy artwork from Aotearoa New Zealand. Auckland, N.Z: HarperCollins, 2010.

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4

Cousens, David. Digital art: A complete guide to making your own computer artworks. London: Arcturus Publishing Limited, 2013.

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5

Cousens, David. Digital art: A complete guide to making your own computer artworks. Mankato, Minnesota: Arcturus Publishing, 2014.

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6

Stanco, Filippo. Digital imaging for cultural heritage preservation: Analysis, restoration, and reconstruction of ancient artworks. Boca Raton: CRC Press, 2011.

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7

Fossati, Giovanni. From grain to pixel: The archival life of film in transition. Amsterdam: Amsterdam University Press, 2009.

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8

Brady, Dennis. Fractals...Artwork for Your Imagination. Lulu.com, 2006.

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9

Beckman, Marc, and Alison Mangiero. Comprehensive Guide to NFTs, Digital Artwork, and Blockchain Technology. Skyhorse Publishing Company, Incorporated, 2021.

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10

Beckman, Marc, and Alison Mangiero. Comprehensive Guide to NFTs, Digital Artwork, and Blockchain Technology. Skyhorse Publishing Company, Incorporated, 2021.

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Частини книг з теми "Digital artwork":

1

Whitt, Phillip. "Creating Digital Artwork." In Practical Glimpse, 195–222. Berkeley, CA: Apress, 2020. http://dx.doi.org/10.1007/978-1-4842-6327-3_9.

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2

Whitt, Phillip. "Creating Digital Artwork." In Practical Paint.NET, 255–87. Berkeley, CA: Apress, 2021. http://dx.doi.org/10.1007/978-1-4842-7283-1_9.

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3

Cubitt, Sean. "16. Precepts for Digital Artwork." In Fluid Screens, Expanded Cinema, edited by Janine Marchessault and Susan Lord, 304–20. Toronto: University of Toronto Press, 2007. http://dx.doi.org/10.3138/9781442684355-018.

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Hinsch, K. D., G. Gülker, H. Hinrichs, and H. Joost. "Artwork Monitoring by Digital Image Correlation." In Springer Proceedings in Physics, 459–67. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/3-540-27176-7_58.

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Alam, S., A. Budiman, D. Hidayat, and Sunarto. "Batik Bomba: Symbolic interaction through artwork." In Sustainable Development in Creative Industries: Embracing Digital Culture for Humanities, 1–6. London: Routledge, 2023. http://dx.doi.org/10.1201/9781003372486-1.

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Winter, Dorothea. "Aesthetic Aspects of Digital Humanism: An Aesthetic-Philosophical Analysis of Whether AI Can Create Art." In Introduction to Digital Humanism, 211–24. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-45304-5_14.

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AbstractIncreased global digitalization and particularly the growing use of artificial intelligence (AI) are relegating human artists to the background. Art has long been regarded as distinctively human. Art creation and art reception fulfill humans in an incomparable way.However, AI-created artwork is now nearly indistinguishable from human artwork and appears to fully satisfy human aesthetic needs. If this is really true, we need a new concept of art. And we need to ask ourselves the question: Why then do we still need human artists? Or is there perhaps a unique selling point of human artists after all? This chapter explores the aesthetic-philosophical aspects of digital humanism in the context of AI-created art, building on the Kantian notion of art, one of the most prominent frameworks of art in the field of philosophical aesthetics. This chapter addresses questions such as “Do we need human artists in the age of AI?” and “Are creations of AI truly art?”
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Wang, Qiurui, Luc Streithorst, Caihong He, Loe Feijs, and Jun Hu. "Calm Digital Artwork for Connectedness: A Case Study." In Entertainment Computing – ICEC 2023, 461–70. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-8248-6_44.

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Armstrong, Keith. "Wasting Time? Art, Science and New Experience. Examining the Artwork, Knowmore (House of Commons)." In Digital Da Vinci, 113–27. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4939-0965-0_6.

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Caldeira, Altino Barbosa, and Silvio Romero Fonseca Motta. "Digital Documentation and Digital Prototyping of Sacred Artwork of Museum Museu Mineiro - Brazil." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 248–55. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-48974-2_28.

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Supandi, Fajar Persada, Juju Masunah, and Rita Milyartini. "Utilization of or Code for Digital Information Media Installation Artwork." In Proceedings of the Fifth International Conference on Arts and Design Education (ICADE 2022), 402–9. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-100-5_54.

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Тези доповідей конференцій з теми "Digital artwork":

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Azevedo, Isabel. "Artwork: Performative holography." In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483775.

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Wang, Haotian, Gang Liu, and Xin Chen. "User Guided Digital Artwork Colorization." In CSAI2019: 2019 3rd International Conference on Computer Science and Artificial Intelligence. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3374587.3374604.

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Franco, Jorge. "A Decolonized Mood of Creating a Three-dimensional Digital Space Based on Integrating Transdisciplinary Knowledge." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.66.

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This experimental artwork has attempted to produce a decolonized mood of researching and creating Three-dimensional (3D) Virtual Reality (VR) digital spaces based on using and integrating transdisciplinary knowledge. These research and creative 3DVR digital spaces processes have been connected with applying the concept of Digital Transformation (DX) within Educative Computational Practice (ECP) proceedings, addressing the idea of empowering people. The mentioned ECP proceedings have occurred through designing and carrying out 3DVR digital spaces by using 3D computer graphics programming techniques, bringing about individuals’ developing digital and visual communication skills with support of employing Web3D-based technologies, such as the Extensible 3D (X3D) language and the X3Dom framework, as Open Educational Resources (OER). Low cost and accessible Web3D technologies have allowed practicing, analyzing and extending our open-ended long-term investigation at K-12 education levels referent to sharing 3DVR and computer graphics programming knowledge, aiming to inspire individuals’ engagement in computing practices encompassing coding and visual literacy skills. These educational processes have also been sustained by art and its learning and expressing opportunities in the digital age. With support of Web3D technologies and lifelong learning and teaching experiences, we have taken part of a course called “Projeto Espetáculo em Realidade Aumentada”, at Fabrica de Cultura Diadema. Through this course, there has been designed and implemented a 3DVR artwork which has extended our research and digital knowledge acquisition processes through producing a decolonized content by interconnecting conceptual knowledge referent to the visual artwork of Rubem Valentim’s mix of Afro-Brazilian, Amerindian and European cultures and Jacob Lawrence’s Afro-American culture symbolic representation. Both artists have trajectories of lifelong learning and using geometry and colorful forms in their artwork composition. Their artwork has expressed knowledge related to Afro-Brazilian and Afro-American cultures, contributing to reduce a gap, at official education, in the teaching of black culture contributions to the worlds of arts, sciences and technology. Interacting with these artists’ trajectories and artworks has lead to research, apply and share knowledge related to ancient Africa, having as reference the Egyptian civilization use of mathematics, geometry (at some extent sacred geometry) shapes and colors knowledge for building and decorating pyramids and other monuments. Such transdisciplinary knowledge confluence has made part of researching and forming the bases of computer graphics libraries and techniques in databases, allowing through educative 3D computer programming practices, to integrate in this 3DVR artwork features referent to digital sculpture, installation and net art, be it within a standalone way and/or through a blog based interface online. This knowledge confluence has brought about using 3D computer graphics programming proceedings for building and visualizing symbolic representation of Afro-Brazilian, European and Amerindian Enchanted Beings’ sacred adornments and instruments. It includes, based on the artwork another Brazilian educator and artist, Abdias do Nascimento, learning to research and utilize knowledge from people of the West Africa related to a writing system, the Adinkra, which is a group of symbols that express and represent ideas in proverbs. In addition, this artwork participatory development has stimulated individuals enhancing cognitive and technical skills, including their complex and spatial thinking abilities.
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Marchese, Francis T. "Conserving software-based artwork through software engineering." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744752.

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Liu, Wenhui, Bin Liu, Xiao Lin, Bo Li, Zhifen He, and Kang Wang. "ArtDiff: Artwork Generation via Conditional Diffusion Models." In ICDIP 2023: The 15th International Conference on Digital Image Processing. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3604078.3604167.

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Borda, Sylvia Grace. "Digital image archives as public artwork and community engagement." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.31.

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Kusuma, Adjie Wijaya, Arief Agus Sukmandhani, and Jenny Ohliati. "Digital Artwork Marketplace Web Application Design using Blockchain Technology." In 2023 International Conference on Information Management and Technology (ICIMTech). IEEE, 2023. http://dx.doi.org/10.1109/icimtech59029.2023.10277875.

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Knoll, Mathias, and Michael Brickmann. "HOW TO TRANSFER PHYSICAL ARTWORK INTO DIGITAL ENVIRONMENTS - AND BACK." In International Technology, Education and Development Conference. IATED, 2017. http://dx.doi.org/10.21125/inted.2017.1874.

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Ge, Shurong, Matilda Isaac, Wenzhang Zhang, Yuji Dong, Sida Huang, and Bintao Hu. "Blockchain-Empowered Solutions for IoT-Based Digital Artwork Storage System." In 2023 2nd International Conference on Sensing, Measurement, Communication and Internet of Things Technologies (SMC-IoT). IEEE, 2023. http://dx.doi.org/10.1109/smc-iot62253.2023.00025.

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Souliotou, AZ. "TRANSFORMATIONS OF MONA LISA: THE CASE OF A DISTANCE EDUCATION ART-ANDTECHNOLOGY PROJECT." In The 7th International Conference on Education 2021. The International Institute of Knowledge Management, 2021. http://dx.doi.org/10.17501/24246700.2021.7131.

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Mona Lisa by Leonardo Da Vinci has been subject to numerous and various transformations in the form of (re)interpretations, reproductions, replicas, appropriations and parodies. Mona Lisa is far more than a mere Renaissance portrait or a symbol of its time. Instead Mona Lisa is radically connected with artistic movements and practices throughout the history of art as well as with the 20th and 21st century visual culture, visual commerce and social media imagery. This paper presents an activity in a higher education Department of Early Childhood where students experimented with digital tools and made a collective artwork of digital transformations of Mona Lisa. This digital experiment was a distance education project which took place during the COVID-19 pandemic restrictions in Greece. At first, students were given examples of appropriations and parodies of Mona Lisa from the history of art as well as from the visual culture. Then students gave their own "responses" through making digitally transformed versions of Mona Lisa which they put together in a collective digital mosaic. Clones, distortions, semi-transparencies, repositions and other transformations within 75 Mona Lisa versions render this collective artwork a composition with reference to pixel structure. Students' collective artwork contributed to the deeper understanding of Da Vinci's masterpiece and increased their confidence and familiarity with Renaissance painting. The case of this activity proves that digital culture is a catalyst for art history learning and creativity in the classroom. Furthermore, this activity fosters collaborative learning through distance education and turns out to be a vehicle for empowering learners in a digital world, as well as for developing linguistic, numerical and multisensory skills through digital creativity. Keywords: Mona Lisa, Leonardo Da Vinci, distance education, higher education, digital art, participatory practices, community resilience

Звіти організацій з теми "Digital artwork":

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Pluquailec, Jill. Digital Collection: autistic young people's experiences of education during Covid-19. Sheffield Hallam University, 2021. http://dx.doi.org/10.7190/shu-artefact-21001.

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This collection compiles the artworks of a class of year 11 autistic school pupils in July 2021 sharing what education has been like for them during the Covid-19 pandemic as part of a broader research project about autistic young people's and families' experiences during this time.
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Pluquailec, Jill. Comic strip findings: autistic young people's and families' experiences of education during Covid-19. Sheffield Hallam University, 2021. http://dx.doi.org/10.7190/shu-artefact-21002.

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This comic strip represents 3 of the findings from a Sheffield Hallam University research project with autistic young people and their families. There is also a full project report and a digital collection of autistic young people's artworks.

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