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Journal articles on the topic 'Digital art Aesthetics'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Lopes, Dominic McIver. "Aesthetics of Interaction in Digital Art." British Journal of Aesthetics 55, no. 2 (2014): 261–63. http://dx.doi.org/10.1093/aesthj/ayu040.

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2

CROWTHER, PAUL. "Ontology and Aesthetics of Digital Art." Journal of Aesthetics and Art Criticism 66, no. 2 (2008): 161–70. http://dx.doi.org/10.1111/j.1540-6245.2008.00296.x.

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CROWTHER, PAUL. "Ontology and Aesthetics of Digital Art." Journal of Aesthetics and Art Criticism 66, no. 2 (2008): 161–70. http://dx.doi.org/10.1111/j.1540-594x.2008.00296.x.

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4

Denikin, Anton A. "Post-Digital Aesthetics in the Art Practices of the Digital Art." Observatory of Culture 14, no. 1 (2017): 36–45. http://dx.doi.org/10.25281/2072-3156-2017-14-1-36-45.

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Gintere, Ieva. "ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 649. http://dx.doi.org/10.17770/sie2020vol5.4817.

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The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The con
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Holgate, John. "Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?" Proceedings 47, no. 1 (2020): 54. http://dx.doi.org/10.3390/proceedings47010054.

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The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which so
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Holgate, John. "Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?" Proceedings 47, no. 1 (2020): 54. http://dx.doi.org/10.3390/proceedings2020047054.

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The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which so
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Philipsen, Lotte. "Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics." A Peer-Reviewed Journal About 3, no. 1 (2014): 120–30. http://dx.doi.org/10.7146/aprja.v3i1.116092.

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This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designat
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Gintere, Ieva. "A NEW DIGITAL ART GAME: THE ART OF THE FUTURE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 21, 2019): 346. http://dx.doi.org/10.17770/sie2019vol4.3674.

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The task of this study is to create an innovative digital art game of contemporary aesthetics on the basis of research. Research implies the analysis of digital art games and the historical background of their aesthetics, as well as their classification following the stylistic trends. Digital games have a great potential to integrate people into fields that would otherwise not meet their interest. The new game would develop the creative skills of players and teach them the current trends in digital art. The game would project the inheritance of art from the age of modernism into the digital wo
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Susca, Vincenzo. "Open-air museums: digital cultures, aesthetics and everyday life." Vista, no. 7 (April 15, 2021): e021003. http://dx.doi.org/10.21814/vista.3165.

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At a time when everything becomes art, art no longer belongs to itself, to the point of overflowing from the frames that have enclosed it for several centuries – museums, galleries, churches – with unprecedented effects not only in the field of aesthetics, but above all in ordinary life. To understand this in depth, it is necessary to take into account the digital reproducibility of the work of art as a dynamic that upsets the relationship between work and spectator, subject and object, politics and everyday life. From the second half of the 18th century onwards, we saw a dynamic of "aesthetic
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Li, Qi. "Data visualization as creative art practice." Visual Communication 17, no. 3 (2018): 299–312. http://dx.doi.org/10.1177/1470357218768202.

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This article begins by tracing the evolution of data visualization from the fields of aesthetics to areas of creative practice, arguing that the emergence of big data presents creative potential for digital artists. Whereas conventional information visualization emphasizes the effective understanding of data, aesthetics considers the possibility that visualization can enhance the experience of data and support the acquisition of knowledge. In expressing an artistic intent or form, data-based creative practices synthesize and build upon techniques in communications and aesthetics. The article p
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Bristow, Tegan. "Cultures of Technology: Digital Technology and New Aesthetics in African Digital Art." Critical Interventions 8, no. 3 (2014): 331–41. http://dx.doi.org/10.1080/19301944.2014.975509.

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13

Contreras-Koterbay, Scott. "The Teleological Nature of Digital Aesthetics – the New Aesthetic in Advance of Artificial Intelligence." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 105. http://dx.doi.org/10.25038/am.v0i20.326.

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If aesthetic and teleological judgments are equally reflective, then it can be argued that such judgments can be applied concurrently to digital objects, specifically those that are products of the rapidly developing sophisticated forms of artificial intelligence (AI). Evidence of the aesthetic effects of technological development are observable in more than just experienceable objects; rooted in inscrutable machine learning, AI’s complexity is a problem when it is presented as an aesthetic authority, particularly when it comes to automated curatorial practice or as a progressively determinati
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14

Annunziato, Mauro, and Piero Pierucci. "Relazioni Emergenti: Experiments with the Art of Emergence." Leonardo 35, no. 2 (2002): 147–52. http://dx.doi.org/10.1162/00240940252940513.

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Progress in the scientific understanding and simulation of natural evolutionary mechanisms may be creating the basis for a new stage in evolution: the coming of artificial beings and artificial societies. Culture itself, aesthetics and intelligence are coming to be seen as the emergent, self-organizing qualities of a collectivity, evolved over time through both genetic and linguistic evolution. This paper sketches the development of hybrid digital worlds, in which artificial beings are able to evolve their own cultures, languages and aesthetics. Finally, the authors discuss their interactive a
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O'Reilly, Rachel. "Compasses, Meetings and Maps: Three Recent Media Works." Leonardo 39, no. 4 (2006): 334–39. http://dx.doi.org/10.1162/leon.2006.39.4.334.

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The article explores possible cultural approaches to new-media art aesthetics and criticism through an in-depth appraisal of recent works by three contemporary practitioners from Asia and the Pacific: Lisa Reihana, Vernon Ah Kee and Qiu Zhijie. Particular attention is paid to the issues of place, location and cultural practice in their work, issues currently under-examined in new-media art discourse. The analysis pays close attention to the operationality of the works, the influence of pre-digital aesthetic histories and the richly locative and virtual schemas of indigenous epistemologies that
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Khoroshilov, D. A. "Digital mind: mediatization of social cognition in culture, science and art." Social Psychology and Society 10, no. 4 (2019): 9–22. http://dx.doi.org/10.17759/sps.2019100402.

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Psychology of social cognition as the construction of the image of the social world requires addition of the concept of deep mediatization (N. Couldry, A. Hepp). In the frames of modern sociology and cultural-historical psychology it should be talked about the mediatized construction of the image of the world, mediated by the language of mass communication. The code of media language — not verbal, but visual — is analyzed in the epistemological and methodological contexts of the visual turn in the humanities. The realization of this trend in Russian psychology is the aesthetic paradigm of the
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Martín Prada, Juan. "Network culture and the aesthetics of dissension." Escritura e Imagen 16 (December 16, 2020): 271–84. http://dx.doi.org/10.5209/esim.73038.

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This article addresses the complex relationship between digital activism and Internet art, from the initial proposals in the 1990s up to the present day. The analysis focuses on those projects that have most impacted the convergence of net art and “net-activism” during this period, with a particular emphasis on the relationship between artistic practice and hacktivism. Likewise, phenomena such as virtual sit-ins, DDOS-based strategies and several others that have emerged in the new context of social networks and participatory online platforms (memes, flash mobs, etc.) are analysed, in order to
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18

Hung, Keung, and Jean M. Ippolito. "Time-Space Alterations: A New Media Abstraction of Traditional Chinese Painting and Calligraphy Aesthetics." Leonardo 53, no. 1 (2020): 25–30. http://dx.doi.org/10.1162/leon_a_01573.

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The artist and scholar Keung Hung argues that traditional Chinese manners of approaching art can be abstracted through digital media, forging new interdisciplinary correlations. He posits that digital media can be used to shift the notions of time and space from traditional Chinese aesthetics into the contemporary art context.
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Simanowski, Roberto. "Literature and digital media: notes on theory and aesthetics." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 8, no. 1 (2020): 11–21. http://dx.doi.org/10.14195/2182-8830_8-1_1.

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In this keynote lecture, Roberto Simanowski combines close reading of single works with a media-ontological reading of digital art and digital literature. The folowing works are analysed in detail: Romy Achituv and Camille Utterback’s Text Rain (1999); Bit.Fall (2006) by Julius Popp; Still Standing by Jason Lewis (2005); and Caleb Larsen's The Complete Works of W.S. (2007). The analyses suggest that, while remaining essentially a textual medium, the computer increasingly visualizes communication, thus restoring the pictorial nature of early forms of writing.
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Cramer, Florian. "Post-Digital Literary Studies." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 4, no. 1 (2016): 11–27. http://dx.doi.org/10.14195/2182-8830_4-1_1.

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Digital humanities and digital literary studies face much the same challenges as contemporary media art: what will become of them once their media are no longer “new”, and the limitations of processing art as data have become more clearly and widely understood? This paper revisits information aesthetics and computer poetics from the 1960s and 1970s, casting them as precursors of today’s digital humanities, with many of the same issues, achievements and failures, and with their own hype cycles of boom and bust. Conversely, “post-digital” and “Post-Internet” trends in music, graphic design and v
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21

Pereira, Selma Eduarda. "“Ecoações”." International Journal of Creative Interfaces and Computer Graphics 11, no. 2 (2020): 42–53. http://dx.doi.org/10.4018/ijcicg.2020070104.

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The chapter title comes from the fusion of concepts “echo” and “equations.” “Ecoações” contains, from the traditions, the Algarve handmade textiles, the regional pottery, and the characteristic sounds of the customs associated with these activities; from the theater, scenography and costumes; from the fine arts, the sculpture (of the human figure) and the murals in low relief; from digital media art, soundscape, digital interaction, and video projection. In Ecoações, the scenic space invites spectators to immerse themselves in the theme and to visit another dimension of heritage traditions, pr
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22

Nake, Frieder. "The Pioneer of Generative Art: Georg Nees." Leonardo 51, no. 3 (2018): 277–79. http://dx.doi.org/10.1162/leon_a_01325.

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The pioneer of computer art Georg Nees passed away on 3 January 2016, at the age of 89. He was the first to exhibit computer-generated drawings, in Stuttgart in February 1965. Influenced by Max Bense’s information aesthetics (a rational aesthetics of the object based on Shannon’s information theory), Nees completed his PhD thesis in 1968 (in German). Its title, Generative Computergraphik, is an expression of the new movement of generative art and design. Trained as a mathematician, Nees participated in many early, but also recent, displays of computer art. After retiring from his research posi
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23

Tavrizyan, Alexander V. "Aesthetics of Tho­mas Newman’s Music to “Six Feet Under” TV Series." Observatory of Culture 16, no. 3 (2019): 264–77. http://dx.doi.org/10.25281/2072-3156-2019-16-3-264-277.

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This article analyzes the aesthetics of modern Western audiovisual art by the example of the opening titles of “Six Feet Under” TV series (2001—2005). This titles sequence, as well as the series itself, were proclaimed as “cult art” and became widely influential in the US television culture. The visuals of the sequence had been created by a team of Digital Kitchen designers on the basis of music by Thomas Newman, who was a trend setter of the soundtrack genre in the 1990s—2010s. This work is of interest, being one of the most significant in modern mass culture, which allows to analyze the aest
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Kowsari, Masoud, and Mehrdad Garousi. "Fractal art and multi-blended spaces." Virtual Creativity 9, no. 1 (2019): 23–41. http://dx.doi.org/10.1386/vcr_00003_1.

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Abstract Artworks, especially in the last two centuries, have been more created through a process of blending than at any other time. This blendedness is seen not only in many modern and postmodern works of art, from German expressionist woodcuts to Picasso's paintings and spontaneous action paintings of Pollock, but in fractal works of art perhaps more than anywhere else. This study, based on Fauconnier and Turner's blended space and conceptual blending theories, will show how fractal artworks are the result of a multi-blending process. This multi-blending is not only because fractal artworks
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Pereira, Selma Eduarda, and Alexandra Nogueira. "The Destinies of Senses." International Journal of Creative Interfaces and Computer Graphics 12, no. 1 (2021): 46–60. http://dx.doi.org/10.4018/ijcicg.2021010104.

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During the state of global emergency of the COVID-19 pandemic, online cultural events have multiplied and gained space in our lives. However, this relationship between contemporary art and digital media has been developing for decades. In this paper, the authors cover the curatorial and preparation process for the virtual pavilion The Destinies of Senses that was part of the 4th edition of the digital art biennial The Wrong, which took place from November 2019 to March 2020, bringing to discussion the curation of online exhibitions, aesthetics post-digital, and the creation process of these ar
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Daryan, Nika. "Bildtechnologien der Hypersphäre." Vierteljahrsschrift für wissenschaftliche Pädagogik 94, no. 1 (2018): 89–101. http://dx.doi.org/10.30965/25890581-09401008.

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In this paper, a mediological perspective of digitization is used to contribute to a broader understanding of digital education through historical- and pedagogical-anthropological concepts. The importance of aesthetics for digital education concepts is emphasized and traditional elements of educational image-thinking become problematized. The article concludes with an art-related reflection on school competences.
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López Gabrielidis, Alejandra, and Toni Navarro. "The Digital Sublime: Orientation Strategies for a Vertiginous World." Temes de Disseny, no. 37 (July 22, 2021): 226–43. http://dx.doi.org/10.46467/tdd37.2021.226-243.

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This article addresses the increasing levels of complexity and abstraction that digital technologies produce, which generate a feeling of amazement nowadays similar to what the philosophy of art and aesthetics deemed the experience of the sublime. Through the idea of the “digital sublime”, we aim to find ways to find direction in this vertiginous world. Our intention is to research the extent to which art and design can function as mediators of scales that translate the digital sublime into concrete images that are more digestible, as well as easy to understand and perceive. We believe this is
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Evallyo, V. D., and V. P. Krutous. "“Humanization” of Art: Museums on the Internet." Art & Culture Studies, no. 1 (2021): 222–43. http://dx.doi.org/10.51678/2226-0072-2021-1-222-243.

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In this article, the digital museum is examined through the perspective of the “humanization” processes, which is the reorientation of museums to reach the widest audience and to introduce works of art in media discourse. First of all, these problems cover the transformation of the usual communication between museums and their visitors. Thus, new accents are formed and landmarks are shifted from a work of art to its recipient. The purpose of this study is analyzing the visual component of museums’ websites, cultural research of digital content. As a result of the release of museums and their m
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Morgan, Trish. "Sharing, hacking, helping: Towards an understanding of digital aesthetics through a survey of digital art practices in Ireland." Journal of Media Practice 14, no. 2 (2013): 147–60. http://dx.doi.org/10.1386/jmpr.14.2.147_1.

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Rautray, Priyabrata, and Boris Eisenbart. "ADDITIVE MANUFACTURING – ENABLING DIGITAL ARTISANS." Proceedings of the Design Society 1 (July 27, 2021): 323–32. http://dx.doi.org/10.1017/pds.2021.33.

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AbstractNew technologies have always been disruptive for established systems and processes. Additive Manufacturing (AM) is proving to be one such process which has the potential to disrupt handicraft and its manufacturing processes. AM is customisable, adopt multiple materials and is not restricted by the manufacturing process. Our research discusses this global phenomenon with case studies to highlights the growth of a new kind of professionals known as ‘Digital Artisans’. These artisans will assimilate the latest technologies with the cultural practices of the societies to create a new genre
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Pype, Katrien. "Beads, Pixels, and Nkisi: Contemporary Kinois Art and Reconfigurations of the Virtual." African Studies Review 64, no. 1 (2021): 23–40. http://dx.doi.org/10.1017/asr.2020.74.

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AbstractIn the 2016 Abiola Lecture, Mbembe argued that “the plasticity of digital forms speaks powerfully to the plasticity of African precolonial cultures and to ancient ways of working with representation and mediation, of folding reality.” In her commentary, Pype tries to understand what “speaking powerfully to” can mean. She first situates the Abiola Lecture within a wide range of exciting and ongoing scholarship that attempts to understand social transformations on the continent since the ubiquitous uptake of the mobile phone, and its most recent incarnation, the smartphone. She then anal
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Bešlagić, Luka. "Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 51. http://dx.doi.org/10.25038/am.v0i20.323.

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This paper explores a recently emerged audiovisual form called desktop documentary, an interdisciplinary computer-based variant of the essay film. As a post-media practice, no longer exclusively dependent on the film medium, desktop filmmaking represents a hybrid audiovisual genre entirely conducted in the digital environment by using and exploiting preexisting materials in new contexts while using the advantages of the Internet, widely used software and digital tools. Desktop documentary filmmaking corresponds to the widespread artistic practice of postproduction – a concept introduced by Nic
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Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 1 (2018): 54–63. http://dx.doi.org/10.17816/vgik10154-63.

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Abstract: According to recent research, video games are recognized as a new kind of art in the 21st century. Is it possible to distinguish the concepts of "entertainment" and "art" when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of "personal management" of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling, and virtual aesthetics modernized the classical thesis of "life as
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Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 2 (2018): 50–60. http://dx.doi.org/10.17816/vgik10250-60.

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According to recent research, video games are recognized as a new kind of art of the 21st century. Is it possible to distinguish the concepts of entertainment and art when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of personal management of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling and virtual aesthetics modernized the classical thesis of the life as a game into a
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Holmes, Ros. "Meanwhile in China … Miao Ying and the Rise of Chinternet Ugly." ARTMargins 7, no. 1 (2018): 31–57. http://dx.doi.org/10.1162/artm_a_00199.

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This article examines a series of internet artworks by the artist Miao Ying (b. 1985). Contextualizing her digital collages in relation to China's online culture and media spheres, it situates the contemporary art world's engagement with internet art in relation to anti-aesthetics and the rise of what has been termed Internet ugly. Interrogating the assumption that internet art emerging from China can only belatedly repeat works of Euro-American precedent, it argues that Miao's work presents a dramatic reframing of online censorship, consumerism and the unique aspects of vernacular culture tha
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Michelsen, Lea Laura. "Thinking Beyond Biometrics." A Peer-Reviewed Journal About 7, no. 1 (2018): 36–49. http://dx.doi.org/10.7146/aprja.v7i1.115063.

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 Today, digital biometrics are proliferating. Based on scans of biological traits – from faces, fingerprints and gait to vein patterns, heart rhythm, brain activity, and body odor – biometrics are known to be able to establish the identity of a human subject. When reading humanities research on biometrics, though, it becomes evident that we are altering a lot more than just our faces. This article proposes a study of a wave of artistic counter-biometrics in order to enable thinking beyond the biometric box, practicing the ‘art of disappearing’ from the biometric gaze. With
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Bjoernsten, Thomas. "Data aesthetics - between clouds of information and subjective experience." MedieKultur: Journal of media and communication research 31, no. 59 (2016): 24. http://dx.doi.org/10.7146/mediekultur.v31i59.20237.

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This article takes it point of departure from a three-year research project entitled “Making sense of data – understanding digital reality through contemporary artistic practices of visualization and sonification”. As the project does, so will this article focus on the analysis of specific practices and artefacts, occupied with exploring digital formats and data through both visualization and sonification strategies (the latter referring to the task of turning data into audible sound), thus, expanding the use of large data sets into the sphere of art and the aesthetic. The article will critica
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Martin, Fred. "The Horse and the Cart: The Contemporary Artist and the Aesthetician." Empirical Studies of the Arts 13, no. 2 (1995): 119–30. http://dx.doi.org/10.2190/wtge-fm8u-7etu-dgdp.

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This informal survey of magazine covers and lead articles from Art in America 1990–1993 indicates new artistic forms such as advertising and photo journalism, new media such as digital imaging and installation, and new contents such as the politics of race, gender, and revolution, all of which may challenge the assumptions of both empirical and philosophical aesthetics.
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Mukhida, Leila. "Violence in the Age of Digital Reproducibility: Political Form in Valeska Grisebach's Longing (2006)." German Politics and Society 33, no. 1 (2015): 172–85. http://dx.doi.org/10.3167/gps.2015.330113.

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While public discussions about media and violence tend to be defined by the negative psychological effects attributed to exposure to mediated depictions of violence, this article argues that the mediated violence in Valeska Grisebach's 2006 film, Longing, (Sehnsucht) instead seeks to heighten viewers' sensitivity towards violent acts in moving images. Grisebach rejects the so-called MTV aesthetic and instead employs formal and narrative devices that may be read in political terms. To illuminate the connection between film aesthetics, violence, and mass (dis)engagement with politics, this artic
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Lēvalde, Vēsma. "Digimodernisms teātrī: perspektīva un naratīvs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 276–85. http://dx.doi.org/10.37384/aplkp.2020.25.276.

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The digital era has created a new form of textuality, defined ten years ago by British cultural critic Alan Kirby as digimodernism, manifested in both literature and art, and gradually replacing postmodernism. The new media-language theorist Lev Manovich sees similarities in digital art and the aesthetics of the Left Avant-Garde of the 1920s, as well as cinema. In the early and middle 20th-century cinema development produced an impact on modernism art. In the 21st century, digital technologies emerging from film aesthetics leave the footprints in contemporary art and theatre. Identifying the k
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Proksell, Michelle, and Gabriele de Seta. "A Cabinet of Moments: Collecting and Displaying Visual Content from WeChat." Cabinet, Vol. 2, no. 2 (2017): 88–94. http://dx.doi.org/10.47659/m3.088.art.

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The Chinternet Archive is a collection of tens of thousands of digital images that artist Michelle Proksell has been collecting over years of everyday use of Chinese social messaging app WeChat. These images all come from public WeChat accounts that Michelle finds through a location-based function of the app called “People Nearby”. By regularly exploring the social media profiles of individuals in a one-kilometer radius from her geographical position, Michelle has been able to collect visual content shared by WeChat users in several Chinese cities as well as ten countries around the world. Fro
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Whalley, Ian. "Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages." Organised Sound 17, no. 1 (2012): 4–15. http://dx.doi.org/10.1017/s135577181100046x.

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Using Internet2 for audio performance, supported by digital video communication between players, provides the opportunity for networked electroacoustic music practitioners to connect with, bridge, amalgamate and lead diverse sound-based music traditions. In combination with intelligent/multi-agent software, this facilitates new hybrid sonic art forms. Extending prior work by the author,Mittsu no Yugo(Whalley 2010a) recently explored this direction. While Internet2 expands production/aesthetic possibilities, accommodating established aesthetics in tandem requires careful consideration. Beginnin
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Kahn, Douglas. "Prelude to Live Cinema." Journal of Visual Culture 10, no. 2 (2011): 255–65. http://dx.doi.org/10.1177/1470412911402913.

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This article investigates the increasingly prevalent discourse of ‘live cinema’ as the name of a concrete practice and conceptual aspiration within contemporary media aesthetics. The author argues that this oxymoronic conjunction encapsulates certain fundamental questions recurring throughout the history of 20th-century art in its increasingly important intersection with both media technology and performance. Contrasting contemporary digital ‘interfaces’ with classical musical instruments, he asks how traditional forms of embodiment and virtuosity have been transformed within contemporary audi
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Horrocks, Roger. "The dance of the hand: Len Lye’s direct films." Animation Practice, Process & Production 8, no. 1 (2019): 33–45. http://dx.doi.org/10.1386/ap3_00003_1.

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Len Lye’s animation has a special relationship with physical materials and the body because of the ways he drew and scratched his images directly onto film. This article considers what is unusual about his aesthetic, with its emphasis on kinaesthetic styles of viewing and on ‘physical empathy’. Tracking Lye’s film work from the 1930s through the 1950s, it draws connections with the body-oriented aspects of abstract expressionist art. It also relates the films to Maurice Merleau-Ponty’s ‘embodied’ approach to phenomenology. Today Lye’s films need to be digitized, and that transfer raises intere
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Van Schepen, Randall. "Contemporary Misticism: Recovering Sensible Aesthetics in an Age of Digital Production." Religions 10, no. 3 (2019): 186. http://dx.doi.org/10.3390/rel10030186.

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Materialist accounts of artistic development emphasize the ongoing revolution of media in the progress of history. Amongst the most popular accounts of modernity are Walter Benjamin’s essays on the relationship of photography to traditional art. His account of the loss of aura has been subject to countless reinterpretations since its publication. The present essay addresses the contemporary production of a number of architects and artists whose work provides an interesting challenge to the Benjaminian account of the secularization of artistic ritual. The artists Adam Fuss, Vera Lutter, Alison
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Legrady, George. "Perspectives on Collaborative Research and Education in Media Arts." Leonardo 39, no. 3 (2006): 215–18. http://dx.doi.org/10.1162/leon.2006.39.3.215.

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Digital arts is by nature a hybrid practice, integrating the poetics, aesthetics and conceptual strategies of art with the logical, systematic methods of technological processes from engineering and the sciences. This article reviews the development of interdisciplinary, collaborative arts-engineering research and education at the University of California at Santa Barbara, focusing on the Media Arts & Technology graduate program from a visual/spatial arts perspective.
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Bernal, Raul Niño. "Evolutionary Immersion, Digital Arts, Science and Technology." ARJ – Art Research Journal / Revista de Pesquisa em Artes 2, no. 2 (2015): 11–122. http://dx.doi.org/10.36025/arj.v2i2.7287.

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A theoretical defense of aesthetics as an open science, of knowledge from the perspective of computational information and electronic networks. The transformation of technologies vis-à-vis the evolutionary creation and immersion of digital arts and the use of computing poses a wider conception about interaction, participation and visual concepts in terms of an event horizon. Artists and scientists who use the digital medium face two transformation processes in the creative milieu: in the first place, understanding the transformation of the matter used in the past to represent objects and works
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Williams, Kathleen. "The Wonder Years." Alphaville: Journal of Film and Screen Media, no. 12 (February 10, 2017): 59–77. http://dx.doi.org/10.33178/alpha.12.04.

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This article explores the various manifestations of analogue video in digital culture. Introducing the framing concept of an aesthetics of remanence, it argues that the “society of the spectacle” (Debord) has entered an age of retrospectacle, a dominant signifier of which is the remediation and/or simulation of analogue videography. The concept of remanence connects the material conditions of magnetic tape with analogue video’s aesthetic expressions, and the cultural situation in which analogue video finds itself today. By looking at three different cases related to retro gaming, contemporary
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Rozenkrantz, Jonathan. "Analogue video in the age of retrospectacle." Alphaville: Journal of Film and Screen Media, no. 12 (February 10, 2017): 39–58. http://dx.doi.org/10.33178/alpha.12.03.

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This article explores the various manifestations of analogue video in digital culture. Introducing the framing concept of an aesthetics of remanence, it argues that the “society of the spectacle” (Debord) has entered an age of retrospectacle, a dominant signifier of which is the remediation and/or simulation of analogue videography. The concept of remanence connects the material conditions of magnetic tape with analogue video’s aesthetic expressions, and the cultural situation in which analogue video finds itself today. By looking at three different cases related to retro gaming, contemp
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Trisnawati, Ida Ayu, and Sulistyani Sulistyani. "Performance Model and the Problems of Packaging Balinese Dance in the New Normal Era." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 4, no. 1 (2021): 1–6. http://dx.doi.org/10.31091/lekesan.v4i1.1411.

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This study aims to explain the adaptation patterns of dance in the new normal era to maintain the existence of art and prevented Covid-19 terviews, and observations of various art performances in the new normal era. Furthermore, the data were analyzed with interactive analysis and presented critically with analysis assisted by the socio-cultural theory and art. Research results show that Covid-19 has changed various orders of human life, including dance. Dance performances must follow health protocols to prevent the spread of Covid-19, as a result, there is an adaptation from aesthetics to hea
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