Relevant bibliographies by topics / Digital art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Digital art'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2025

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Journal articles on the topic "Digital art"

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BENTKOWSKA KAFFEL, ANNA. "Digital Art." Art Book 15, no. 3 (August 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, no. 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, no. 4 (November 1995): 30–31. http://dx.doi.org/10.1145/216876.216884.

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Sungkar, Anna. "Digital Art." Dekonstruksi 9, no. 02 (March 27, 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, no. 3 (July 3, 2015): 245. http://dx.doi.org/10.1080/00043079.2015.1013401.

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Baca, Murtha, Anne Helmreich, and Melissa Gill. "Digital Art History." Visual Resources 35, no. 1-2 (February 22, 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, no. 2 (March 2005): 4–5. http://dx.doi.org/10.1109/mcg.2005.39.

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Varnava, Christiana. "Digital art projected." Nature Electronics 2, no. 1 (January 2019): 8. http://dx.doi.org/10.1038/s41928-018-0192-z.

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Ortegren, Hans, and Anders Marner. "Education Through Digital Art About Art." المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 1, no. 2 (April 1, 2015): 241–60. http://dx.doi.org/10.21608/amesea.2015.71175.

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Marner, Anders, and Hans Örtegren. "Education through digital art about art." International Journal of Education Through Art 10, no. 1 (March 1, 2014): 41–54. http://dx.doi.org/10.1386/eta.10.1.41_1.

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Dissertations / Theses on the topic "Digital art"

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Holder, John Frans Patrick. "Immersive, digital, expressive, art." Thesis, University of East London, 2011. http://roar.uel.ac.uk/3137/.

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Ever since I can remember I have been obsessed with alternate realities of one form or another: be it creating a graphical fantasy computer game in the mid 1980's; or as an engineer in rooms full of mainframe computers with their invisible layers of data being interrogated and processed, to more recently creating places that people would explore and spend time in Virtually', such as three dimensional social environments and rich-media websites. Despite a background in creative design and computing as engineer, designer, and media creative, my artistic mind always seems to be thinking in abstract ways about the reality that we inhabit and how that might be expressed, this remains a constant source of inspiration. Employment typically constrained me to a company's requirements, so it was quite rare for me to find enough time to focus completely on developing my personal artistic practice. Embarking on the professional doctorate has changed this over the course of the last 5 years, as I find it a platform from which to explore and evolve my own personal creative practice. I began exhibiting locally in the studio and at University, and through people that viewed my artwork I was invited to exhibit a piece in Athens. This formed part of a group show and my piece received positive media coverage, which led to a place on a prestigious programme later that year in Athens called 'e- MobilArt'. Its aim was to encourage international collaborative art projects, and this would lead to a major exhibitions over the following years. Two collaborations ensued, and as well as creating them in London I travelled to Finland and Austria in order to pursue their development. Through the University of Athens, I was invited to exhibit one of these pieces at a major exhibition, The 2nd Biennale of Contemporary Art, Thessaloniki, this elicited a further invitation to exhibit my other collaborative artwork in Poland at the impressive Rondo Stzuki Art Gallery. After this creative period and exhibitioning I critically reflected upon my pieces and decided I was not satisfied with the installations or their interactive elements, and considered how these elements might be revisited, as their complexity had grown considerably during the collaborative process. At this time a tutorial with my supervisor confirmed that I should look at simplifying future work, thus allowing the audience greater freedom in their interpretation of the piece. After long periods in the studio I realised that my critical thinking had focussed on creative expression that was heavily influenced by several factors and their combination thereof; Interaction, Interface and Immersion. In this document I discuss how the interfaces that allow participants to interact can differ and how that affects the experience; how interaction may be physical or sensory, and what that might mean to the audience or participant, and how the immersion is integral to the participant's experience and may be sensorial and/or narrative based. Since these revelations in how I think about my work, I have created work that utilised unfamiliar (at least to me) and forms of interaction, whilst stripping away complexity, and now I am putting greater emphasis on the experience through relational concepts. Ultimately the work is evolving to become far more about my self-expression and far less about audience constriction of thought.
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Bergman, John. "IMMERSIVE GALLERY OF DIGITAL ART." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.

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Kavanaugh, Anya. "Effectiveness of Digital Response Art." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/905.

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This study looks at the effectiveness of digital media to create response art and deepen attunement with adolescent clients as well as develop self-awareness in the therapist. An arts- based qualitative heuristic self-study was used to analyze data gathered over a six-week period. The subject was the researcher/therapist and the data was gathered during the second-year practicum while working with adolescents at a non-public school. Data was gathered through a process of creating two post-session response artworks using video, animation, or digital drawing and a written reflection for each artwork. Nine artworks and eight written reflections were created in total. The data was analyzed using a phenomenological lens and a digital art therapy lens. Certain themes, such as use of color, rhythm and pace, self as subject, client process, progression of affect, management of environment, and representation of containment were analyzed. These themes revealed a high probability for digital media to assist in deepening attunement with an adolescent client and a more limited chance of development of self- awareness.
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Juste, Carlijn. "Digital Materials in Physical Spaces : Strategies for Exhibiting Digital and Beyond-Digital Installations in Contemporary Art Institutions." Electronic Thesis or Diss., Université de Lille (2022-....), 2025. http://www.theses.fr/2025ULILH001.

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Cette recherche interroge les nouvelles stratégies curatoriales relatives aux expositions d'œuvres d'art numérique dans des espaces physiques d'exposition. Par art numérique, j'entende les projets artistiques qui font usage de manière créative et critique de technologies telles que la programmation algorithmique, la réalité virtuelle ou augmentée, la robotique, l'utilisation des datas et les nouvelles formes d'apparition de l'image. Dans un monde où les outils numériques sont une condition structurante de la vie en société et de toute production culturelle (Stalder 2016), l'art numérique est un moyen puissant pour comprendre notre temps présent et notre avenir (Ertan 2016). Il peut offrir des approches et des récits alternatifs aux utilisations dominantes de la technologie, hautement influencées par le capitalisme mondialisé. L'institution artistique peut être un lieu unique permettant de réfléchir à l'influence prédominante des dispositifs technologiques sur nos vies et nos processus de pensée. Malgré le fait que ces œuvres numériques occupent maintenant une place importante dans le monde de l'art contemporain et peuvent se prévaloir d'une certaine historicité (Paul 2016), rares sont les travaux de recherche portant sur des nouvelles modalités de mise en exposition expérimentées pour ces œuvres et la façon dont l'art numérique nous incite à re-penser l'exposition (Dekker 2021). Les bouleversements opérés par le numérique transforment les modalités de production et d'exposition des œuvres. Des nouvelles stratégies curatoriales ont été expérimentées, et des modalités existantes on été adapté. En montrant ces ruptures et continuations avec une théorie et pratique de l'exposition existante ce de travail de thèse entend examiner finement comment les œuvres d'art utilisant les technologies numériques ont transformé notre façon de penser et de réaliser des expositions. Quelles sont les nouvelles stratégies curatoriales qui ont émergé s'appuyant sur l'interactivité, la variabilité, la matérialité technique des œuvres ? Comment s'articulent précisément les liens entre artiste, espace d'exposition, œuvre et spectateur dans ce nouveaux paradigme de l'exposition ? Comment évoluent des œuvres d'art dans le temps et comment est-ce qu'ils s'adaptent à des espaces d'expositions différents ? Annet Dekker, Curating Digital Art: From Presenting and Collecting Digital Art to Networked Co-curation, Amsterdam, Valiz, 2021.Ekmel Ertan, « Introduction to Histories of the Post-DigitalHistories of the Post Digital », Histories of the Post-DigitalHistories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016, p. 4-5.Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Felix Stalder, The Digital Condition, Cambridge, Polity Press, 2016, trad. par Valentine A. Pakis, Die Kultur der Digitalität, berlin, Surkamp Verlag, 2016
This research investigates new curatorial strategies for exhibiting digital artworks in physical exhibition spaces, with the term “digital art” referring to artistic projects that make creative and critical use of technologies such as algorithmic programming, virtual or augmented reality, robotics, the use of data, and new forms of image creation and distribution. In a world where digital tools are a structuring condition of life in society and of all cultural production (Stalder 2016), digital art represents a powerful means of understanding our present time and our future (Ertan 2016). It can offer alternative approaches and narratives to the dominant uses of technology, highly influenced by globalized capitalism. The art institution can also be a unique place to reflect on the predominant influence of technological devices on our lives and thought processes. Despite the fact that these digital works now occupy an important place in the contemporary art world and can claim a certain historicity (Paul 2016), there is little research into the new exhibition modalities experimented with these works and the way in which digital art prompts us to rethink the exhibitions (Dekker 2021). The upheavals wrought by digital technology are transforming the way works are produced and exhibited. New curatorial strategies have been experimented with, and existing modalities adapted to these different forms of artistic practice. By illustrating how these exhibitions both diverge from and simultaneously build upon existing exhibition theory and practice, this thesis aims to intricately examine how artworks utilizing digital technologies are transforming the ways in which we think about and build exhibitions. What new curatorial strategies have emerged based on the interactivity, variability, and technical materiality of the works? How are the links between artist, exhibition space, work, and viewer articulated in these new exhibition paradigms? How do artworks evolve over time, and how do they adapt to different exhibition spaces?Annet Dekker, Curating Digital Art: From Presenting and Collecting Digital Art to Networked Co-curation, Amsterdam, Valiz, 2021. Ekmel Ertan, « Introduction to Histories of the Post-DigitalHistories of the Post Digital », Histories of the Post-DigitalHistories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016, p. 4-5. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Christiane Paul, « Genealogies of the Digital: A Post-Critique » dans Histories of the Post Digital, Ekmel Ertan (dir.), Istanbul, Akbank Sanat Kütüphane, 2016. Felix Stalder, The Digital Condition, Cambridge, Polity Press, 2016, trad. par Valentine A. Pakis, Die Kultur der Digitalität, berlin, Surkamp Verlag, 2016
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Jones, Benjamin David. "Digital butterflies of the backstreets : participatory art and the digital divide." Thesis, University of Newcastle upon Tyne, 2015. http://hdl.handle.net/10443/3063.

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Through this practice-based research I interrogate the terms community art, activism, social and digital media, as well as community and place. It is an investigation into both theoretical and practical aspects of community art practice and its connection to national and local policies on community, arts and digital media. It considers the increasing role digital technology and social media have in communities and community organisations, in particular under the guise of austerity, and how community organisations (do not) use social media and digital technology to encourage participation. It considers my position and role as an artist, curator and resident within the community that I live in and how, through becoming active and engaged with the place, I can develop a strategy for sustainable and long-term social engagement. This practice based Ph.D. takes as a starting point the stalled housing regeneration, due to the halting of the Housing Market Renewal Pathfinder, in the community where I live. The research builds upon my experience of working as an artist, curator and arts educator since the turn of the millennium where, under consecutive governments the purpose of contemporary art and its educational use has either been to effect social change (New Labour) or its economic value (current coalition government). Through the creation of a series of participatory and digital engagement events and workshops the research interrogates and considers the connections and conflict between the ‘physical’ (public space) and the digital and supposedly ‘open’ (the online). The research will be of use to those who feel an increasing and urgent need to engage with their own community as practitioners as well as community members.
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Edström, Jesper, and Nicky Ristic. "Digital art recommendation system : A personalized virtual tour of digital collections." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-449497.

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The purpose of this project is to create a website with a React-based prototype recommendation system of a large cultural collection. The aim of the website is to provide a function that allows a user to upload an image to which the system consequently recommends correlating artwork from the publicly available collection of the Metropolitan Museum of Modern Art (MET). The correlation coefficient between the uploaded image and the artworks from (MET) is acquired through Pearson Correlation. Furthermore the artwork with the highest correlation to the uploaded picture is shown first, then each subsequent artwork is shown in order of highest correlation. The main challenge for building this prototype was to combine the different components together with JavaScript and the REACT framework. The recommendation engine demands numerical representations of these artworks, and most effort was given to the automatic conversion of photos of artworks into a proper format for the recommendation engine.
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Casbarro, Shaun M. "Experimental digital printing methods." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1265100.

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Computer prints have long been viewed as final products. All the work was traditionally completed on the computer then printed as final output, without alteration or adaptation. Unlike other forms of fine arts printing (photo or printmaking) there are no chemical alterations or multiple printing procedures. I have used this exploration to experiment with numerous approaches to digital printing. Several artists have inspired my work, both in approach and technique. Those artists include Robert Rauschenberg, David Hockney, and Man Ray. This creative project is both an experiment in creative printing techniques and the aesthetic creation of experimental works of digital art.The purpose of this project is to explore and experiment with techniques and practices that will push my own digital work to new levels, and open areas of further study for myself and other digital artists.
Department of Art
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Christiansen, Lauren. "Redefining exhibition in the digital age /." This body of writing is available online with supplemental images, 2010. http://exhibitioninthedigitalage.tumblr.com/.

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DE, VINCENTIS Stefania. "Il museo di arte antica in una prospettiva digitale. Progetti di Digital Art History tra teoria e applicazione all'interno dei luoghi della cultura." Doctoral thesis, Università degli studi di Ferrara, 2020. http://hdl.handle.net/11392/2478840.

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Quello della Digital Art History è un argomento al centro di un vivace dibattito accademico, dove il susseguirsi di più interpretazioni, spesso tra loro discordanti, faticano a definirlo un vero e proprio ambito disciplinare. Il suo stesso collocarsi all’interno delle Digital Humanities partecipa a creare confusione senza definire esattamente metodi, criteri e prassi che possano aiutare a stabilire l’effettiva valenza disciplinare della Digital Art History. Il cambiamento degli approcci museologici e museografici, grazie alle nuove tecnologie, sia per la catalogazione e la comunicazione delle collezioni costituisce, invece, un dato assodato e riconosciuto. Il museo virtuale è un concetto con cui la storia dell’arte ha iniziato a familiarizzare alla fine del XIX secolo con le prime letture delle avanguardie storiche dello spazio museale e del concetto stesso di museo, intenzionate a promuovere un modello di fruibilità e godimento estetico, interpretabile e interagibile, a portata d’individuo quando non davvero portabile. Partendo da queste premesse, l’obiettivo della tesi è di individuare i punti di congiunzione, ammesso che esistano, tra le nuove manifestazioni della Digital Art History e i progetti che interessano il museo digitale. La tesi vuole suggerire il museo come ambito privilegiato per lo sviluppo delle ricerche digitali storico artistiche, come il luogo dove gli esiti di questi studi possano diventare una risorsa accessibile a un pubblico stratificato, composto da un’utenza generica o specializzata. Saranno messi a confronto esempi di progetti digitali che riguardano sia i musei che la storia dell’arte, ma il caso trattato in maniera più approfondita, scelto per testare questa ricerca, riguarda una delle più note e “antiche” risorse digitali per la storia dell’arte: il Getty Provenance Index. Questo progetto è inserito in un piano di lavoro triennale, il Provenace Index Remodeling, che modificherà le tipologie di accesso ai diversi database che lo compongono e che influirà sulle modalità con cui questa struttura potrà essere utilizzata dagli utenti, studiosi, ricercatori, studenti, tecnici e conservatori museali.
Changes in museological and museographic approaches, thanks to new technologies both for the cataloging and communication of collections, represent an established and recognized fact. The virtual museum is a concept with which art history began to familiarize itself at the end of the nineteenth century with the first approach by historical avant-gardes to the museum space and to the concept of museum itself, intending to promote a model for an aesthetic usability and enjoyment, interpretable and interactable, personalizable when not really portable. Starting from these premises, the aim of the thesis is to identify the contact points, if any, between the new manifestations of Digital Art History and the projects that affect the digital museum. The thesis aims to suggest the museum as a privileged area for the development of historical and artistic digital research, as the place where the results of these studies become an accessible resource to the stratified audience, made up of generic or specialized users. Examples of digital projects that concern both museums and art history will be compared, but the case treated in more detail, chosen to test this research, concerns one of the most famous and "old" digital resources for the history of art: the Getty Provenance Index. This project is included in a three-year program, the Provenance Index Remodeling, which will modify the types of access to the various databases that make it up and which will influence the ways how this structure can be used by users, scholars, researchers, students, technicians and museum curators.
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Milton-Smith, Melissa. "A conversation on globalisation and digital art." University of Western Australia. Communication Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0057.

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

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Espada, Miguel V. Encuentros digitales =: Digital encounters. Madrid]: Universidad Complutense de Madrid, Área de Humanidades, 2010.

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Ltd, 3DTotal com. Digital art masters. Oxford: Focal, 2005.

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Team, 3DTotal, ed. Digital art masters. Hong Kong: 3DTotal Team, 2005.

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Ltd, Sotheby's Australia Pty. Aboriginal art, Australian photography & digital art. Melbourne: Sotheby's, 2004.

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Venturelli, Suzete, and Monica Tavares. Cinético digital. São Paulo: Itaú Cultural, 2005.

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A, Crutchfield Margo, and Museum of Contemporary Art Cleveland., eds. All digital. Cleveland, Ohio: Museum of Contemporary Art Cleveland, 2006.

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Murry, Natalie. Digital Forensic Art Techniques. Boca Raton, FL : CRC Press, [2018]: CRC Press, 2018. http://dx.doi.org/10.4324/9781351047166.

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Festival Internacional de Linguagem Eletrônica (1st 2000 São Paulo, Brazil, etc.). Internet art: Digital culture. São Paulo: Paço das Artes, 2002.

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Watkinson, John. The art of digital video. 3rd ed. Oxford: Focal Press, 2000.

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Hiroe, Takahashi, ed. Digital graphics. Tōkyō, Japan: A.G. Publishers, 1994.

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Book chapters on the topic "Digital art"

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McIver Lopes, Dominic. "Digital Art." In The Blackwell Guide to the Philosophy of Computing and Information, 106–16. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470757017.ch8.

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Madhuraj, Malavika. "Digital Art." In Drawing Attention, 69–77. London: RIBA Publishing, 2023. http://dx.doi.org/10.4324/9781003351740-10.

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Falcão, Patrícia, and Tom Ensom. "Conserving Digital Art." In Museums and Digital Culture, 231–51. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_11.

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

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Gillette, Jen. "Digital Art Supplies." In Digital Painting and Rendering for Theatrical Design, 50–76. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003212836-5.

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Edwards, Jean, Helen Caldwell, and Rebecca Heaton. "Making digital art." In Art in the Primary School, 287–312. 2nd ed. New York, NY: Routledge, 2021. |: Routledge, 2021. http://dx.doi.org/10.4324/9780429296208-12.

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Zebracki, Martin. "Digital Public Art." In The Routledge Companion to Urban Media and Communication, 314–25. New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315211633-33.

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Munawar, Nour A. "Digital culture." In Documentation as Art, 100–108. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003130963-11.

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Soutter, Lucy. "Digital dialogues." In Why Art Photography?, 108–34. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-6.

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Savin-Baden, Maggi, and Katherine Wimpenny. "Digital Art(S) and Digital Métissage." In A Practical Guide to Arts-related Research, 113–25. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-815-2_8.

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Conference papers on the topic "Digital art"

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England, David, Jill Fantauzzacoffin, Nick Bryan-Kinns, Celine Latulipe, Linda Candy, and Jennifer Sheridan. "Digital art." In the 2012 ACM annual conference extended abstracts. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2212776.2212426.

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England, David, Jill Fantauzzacoffin, Thecla Schiphorst, Celine Latulipe, and Linda Candy. "Digital art." In CHI '13 Extended Abstracts on Human Factors in Computing Systems. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2468356.2468814.

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"Cover Art." In 2011 Workshop on Digital Media and Digital Content Management. IEEE, 2011. http://dx.doi.org/10.1109/dmdcm.2011.80.

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"[Cover art]." In 2008 Second IEEE International Conference on Digital Game and Intelligent Toy Enhanced Learning. IEEE, 2008. http://dx.doi.org/10.1109/digitel.2008.54.

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"[Cover art]." In Third IEEE International Conference on Digital Game and Intelligent Toy Enhanced Learning (DIGITEL 2010). IEEE, 2010. http://dx.doi.org/10.1109/digitel.2010.59.

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"[Spine art 3cm]." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413927.

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Tan, Tele, Min Chew Lim, Mihai Lazarescu, and Ling Li. "Interactive Digital Art through Chameleon Art." In Annual International Conferences on Computer Games, Multimedia and Allied Technology. Global Science & Technology Forum (GSTF), 2008. http://dx.doi.org/10.5176/978-981-08-8227-3_cgat08-49.

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Christodoulou, Sotiris P., and Georgios D. Styliaras. "Digital art 2.0." In the 3rd international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1413634.1413667.

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Hu, Chen-Chih, and Ming-Te Chi. "Digital latte art." In SIGGRAPH Asia 2013 Posters. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2542302.2542344.

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Dan, Luo. "Art education vocational curriculum study digital art." In Mechanical Engineering and Information Technology (EMEIT). IEEE, 2011. http://dx.doi.org/10.1109/emeit.2011.6023662.

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Reports on the topic "Digital art"

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Falcão, Patrícia. Preserving Digital Art. Digital Preservation Coalition, September 2024. http://dx.doi.org/10.7207/twgn24-02.

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Zinn, Zach. Interrogating AI Bias through Digital Art. Just Tech, Social Science Research Council, September 2022. http://dx.doi.org/10.35650/jt.3039.d.2022.

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Grazia Mattei, María. Art and New Media in Italy. Inter-American Development Bank, February 2003. http://dx.doi.org/10.18235/0006628.

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Barde, Stephane Remy Antoine. The Art of Digitalization: A Dive into e-Estonia. Asian Productivity Organization, September 2024. http://dx.doi.org/10.61145/iini4552.

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Estonia is a digital transformation pioneer, offering valuable lessons to those hoping to follow a strategic approach to modernization. e-Estonia encompasses digital network development for education, healthcare, business, and citizens’ interactions with government based on the three pillars of confidentiality, availability, and integrity. X-Road, the backbone of e-Estonia, facilitates public service delivery, streamlines processes, and thereby lowers costs and raises citizens’ confidence in government. The citizen-centric approach and cross-border cooperation initiatives offer a guide for APO members to enhance their own cost-effective digital governance and productivity initiatives.
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Dubois, Marie-Claude, and Miljana Horvat. State-of-the-Art of Digital Tools Used by Architects for Solar Design. IEA Solar Heating and Cooling Programme, September 2010. http://dx.doi.org/10.18777/ieashc-task42-2010-0001.

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Campos Freire, F., and N. Alonso Ramos. Online digital social tools for professional self-promotion. A State of the Art review. Revista Latina de Comunicación Social, March 2015. http://dx.doi.org/10.4185/rlcs-2015-1047en.

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Stephen Goss, Stephen Goss. Youth on the Move: Re-Storying Urban Communities with Public Art and Digital Media. Experiment, November 2016. http://dx.doi.org/10.18258/8558.

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Parsons, Jean L., Jessica L. Ridgway, and Lauren Tofflemire. With a Theme, as a Team, for a Client: A Digital Textile Design Commissioned Art Project. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-471.

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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, January 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

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What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
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Li, Jian, Peijing Li, and Jingwen Hu. Digital human modeling in automotive engineering applications: a systematic review and bibliometric mapping. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, October 2022. http://dx.doi.org/10.37766/inplasy2022.10.0094.

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Review question / Objective: The aim of this systematic review is to investigate the state of the art of digital human models (DHMs) applied in the field of transportation and automotive engineering, to better inform the development of new models for such use cases. To this end, the proposed systematic review will address the following questions: What is the general trend of research in this field? Which specific use cases, methodologies, and human models are being more widely studied or utilized than others? How can we describe such study characteristics in a structured and quantitative manner? Eligibility criteria: Eligible publications included in the review are screened according to the following criteria: (a) The publication must be a full-text article published in an academic journal or in the proceedings of an academic conference, (b) The publication must be final and the article must be in press, (c) The language of the publication must be English, (d) The publication must apply digital human models in a transportation or automotive engineering context, (e) No particular restrictions are placed on the country and/or region of origin of the publication.
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