Relevant bibliographies by topics / Digital art 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 Art'

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

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Journal articles on the topic "Digital art Art"

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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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BENTKOWSKA KAFFEL, ANNA. "Digital Art." Art Book 15, no. 3 (2008): 6–7. http://dx.doi.org/10.1111/j.1467-8357.2008.00970.x.

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Prince, Patric D. "Digital art." ACM SIGGRAPH Computer Graphics 29, no. 4 (1995): 30–31. http://dx.doi.org/10.1145/216876.216884.

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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 (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 (2014): 41–54. http://dx.doi.org/10.1386/eta.10.1.41_1.

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Baca, Murtha, Anne Helmreich, and Melissa Gill. "Digital Art History." Visual Resources 35, no. 1-2 (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 (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 (2019): 8. http://dx.doi.org/10.1038/s41928-018-0192-z.

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Ambrose, Kirk. "Digital Art History." Art Bulletin 97, no. 3 (2015): 245. http://dx.doi.org/10.1080/00043079.2015.1013401.

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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 concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future. This paper continues previously published research that helped to create the concept and design of Art Space, and focuses on the trends of photorealism and futurism.
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Dissertations / Theses on the topic "Digital art 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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Heron, Julie. "The art of homecoming." University of Ballarat, 2002. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14603.

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This project is concerned with exploring a particular cluster of ideas and stories concerning Homecoming, most notably the presence of the Woman Who Waits for the traveller to return. Underlying the storied aspects of the visual work are the deeper intentions of soulfulness, personal therapy and social interaction. Although profoundly autobiographical, the metaphoric images I have produced are not only a means to touch others but are inclusive of a broader experience than simply my own. Throughout the following exegesis I draw on the disciplines of psychology, sociology, mythology and history, to explore the metaphoric presences of the deities Hestia and Hermes and their relationship to ideas of Home and Not - Home. Particular qualities associated with Home may, for the traveller, become symbolically embodied within the figure of The Woman Who Waits. This simple perception of The Woman Who Waits, and the process of waiting for the traveller to return was explored and expanded through autobiographic art practice combined with visual and theoretical research. Throughout the project the expression of emotive autobiographic issues through the running use of metaphor has been combined with increasing technical control and subtlety along with sustained explorations of spatial and compositional dynamics.<br>Masters (Visual Arts)
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Waelder, Laso Pau. "Selling and collecting art in the network society: Interactions among contemporary art new media and the art market." Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.

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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.<br>La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.<br>The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.
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Lam, Yui-yim Margaret. "Realm of media art." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947382.

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Andersen, Evan. "An analysis of the art image interchange cycle within fine art museums /." Online version of thesis, 2010. http://hdl.handle.net/1850/11981.

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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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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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Choe, Nancy Sunjin. "An Exploration of the Qualities and Features of Digital Art Media in Art Therapy." Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/19.

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Through the lens of a participatory design (PD) approach, this study explored to find qualifying features and qualities of digital art materials, specifically art apps on iPads for art therapy use. The study comprised of two phases: 1) a questionnaire/interview of four art therapists using iPads with clients and 2) four separate focus groups with 15 art therapist and art therapist trainee participants involving multiple stages of cyclic feedback. The focus groups engaged in art directives with nine art making apps identified by the researcher and questionnaire respondents as potentially useful in art therapy. The results revealed that while there was no single commercial art app that satisfied the needs of all art therapists and vast range of clients’ technology skills, artistic abilities, stylistic preferences, and therapeutic needs, three distinct qualities and six concrete features of an “ideal” art app for art therapy use emerged. Additionally, the study’s results expanded the parameters of art therapy’s artmaking practice and visual vocabulary by illustrating digital art media’s potential therapeutic and expressive use. And most importantly, the protection of privacy and confidentiality of client’s digital artwork emerged as one of the most important issue to consider. While this paper discusses the limitless possibilities of digital art media’s meaningful usage in art therapy, it also acknowledges how its unique characteristics may require thoughtful limitations and restrictions.
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Books on the topic "Digital art Art"

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Digital art. Thames & Hudson, 2003.

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Digital art. 2nd ed. Thames & Hudson, 2008.

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Digital art: Its art and science. Prentice Hall, 2009.

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Digital art masters. Focal Press/Elsevier, 2009.

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

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

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Art++. HYX, 2011.

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

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Murry, Natalie. Digital Forensic Art Techniques. CRC Press, 2018. http://dx.doi.org/10.4324/9781351047166.

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Digitale Wortbilder =: Digital word-pictures. Reichenberger, 1987.

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Book chapters on the topic "Digital art Art"

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

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Falcão, Patrícia, and Tom Ensom. "Conserving Digital Art." In Museums and Digital Culture. 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. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07230-2_70.

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

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

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Stern, Nathaniel. "Interactive Art." In A Companion to Digital Art. John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118475249.ch13.

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Frieling, Rudolf. "Participatory Art." In A Companion to Digital Art. John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118475249.ch8.

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Soutter, Lucy. "Digital dialogues." In Why Art Photography? Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-6.

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Kusahara, Machiko. "Proto-Media Art." In A Companion to Digital Art. John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118475249.ch4.

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Galanter, Philip. "Generative Art Theory." In A Companion to Digital Art. John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118475249.ch5.

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Conference papers on the topic "Digital art Art"

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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. ACM Press, 2013. http://dx.doi.org/10.1145/2468356.2468814.

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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. ACM Press, 2012. http://dx.doi.org/10.1145/2212776.2212426.

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

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

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

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Reports on the topic "Digital art Art"

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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, 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, 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, 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. Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-471.

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Acero Galindo, Olga Marlén. Comienzos del arte digital. Universidad Nacional Abierta y a Distancia, 2018. http://dx.doi.org/10.22490/ecsah.2851.

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Rogers, Brad, and Michael Wasilenko. Arc Digital Raster Imagery Evaluation. Defense Technical Information Center, 1992. http://dx.doi.org/10.21236/ada255403.

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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, 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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Bolen, Scott M. Digital Filter Designs that are Free of Limit Cycles. Defense Technical Information Center, 1994. http://dx.doi.org/10.21236/ada282885.

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Pace, P. E., D. J. Fouts, and D. P. Zulaica. Digital Image Synthesizers: Are Enemy Sensors Really Seeing What's There? Defense Technical Information Center, 2004. http://dx.doi.org/10.21236/ada428160.

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Lee, R. D., J. Brizzee, and L. White. Digital conversion of INEL archeological data using ARC/INFO and Oracle. Office of Scientific and Technical Information (OSTI), 1993. http://dx.doi.org/10.2172/10167643.

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