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Journal articles on the topic 'Digital art Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

Serbin, V. A. "Glitch art: critical practices of digital culture." Gumanitarnaya informatika, no. 9 (June 1, 2015): 88–97. http://dx.doi.org/10.17223/23046082/9/7.

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13

Youngwook Park. "Digital Art and Body." Drama Research ll, no. 44 (2014): 5–31. http://dx.doi.org/10.15716/dr.2014..44.5.

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14

Singh, Gary. "Electrifying Digital Abstract Art." IEEE Computer Graphics and Applications 35, no. 2 (2015): 4–5. http://dx.doi.org/10.1109/mcg.2015.27.

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15

Boqiao, Wang. "Digital art in China." Technoetic Arts 10, no. 2 (2012): 145–49. http://dx.doi.org/10.1386/tear.10.2-3.145_7.

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16

Fisher, Michelle Millar, and Anne Swartz. "Why Digital Art History?" Visual Resources 30, no. 2 (2014): 125–37. http://dx.doi.org/10.1080/01973762.2014.908098.

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17

Nash, Adam. "Art imitates the Digital." Lumina 11, no. 2 (2017): 110–25. http://dx.doi.org/10.34019/1981-4070.2017.v11.21441.

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Where is art in the digital era? This essay identifies the digital as an abstract, formal system. Since art has always relied on formal, abstract systems to carry and deliver itself, what are the implications for art in the digital era? Is the digital a site for art, or is it the other way around? Can there be digital art? Identifying limit and boundary problems as the crucial existential problems for the digital, the essay shows that art has always concerned itself with such problems. This prompts the question as to whether it is possible that human existence and art become the same thing in

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18

Paul, Christiane. "Renderings of Digital Art." Leonardo 35, no. 5 (2002): 471–84. http://dx.doi.org/10.1162/002409402320774303.

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This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the t

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19

Trimarchi, F., E. Martino, and L. Bartalena. "Acromegaly in digital art." Journal of Endocrinological Investigation 42, no. 11 (2019): 1387–88. http://dx.doi.org/10.1007/s40618-019-01049-y.

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20

Dube, Avinash. "DIGITAL TECHNIQUES AND ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 89–91. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3706.

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Modern age is a digital age. Digitalization is improving the things in all sectors. In electronics digital instruments are replacing conventional analog instruments giving precession and accuracy. Teaching learning methods are greatly improved due to incorporation of digital technology. Life style of common people is also changing due to digital tranjections, online shopping, online banking etc. The field of art and painting is also influenced by digital techniques available now a day. With emergence of new tools and techniques the art of painting is gaining new shapes. Digital technical

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21

Zavyalov, A. "THE GENESIS OF DIGITAL ART: TECHNOLOGICAL AND CYBERNETIC ART." Bulletin of the Moskow State Regional University, no. 4 (2015): 129–34. http://dx.doi.org/10.18384/2310-7227-2015-4-129-134.

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22

Pan, Yue. "Application of Computer Visual Art in Digital Media Art." Journal of Physics: Conference Series 1961, no. 1 (2021): 012059. http://dx.doi.org/10.1088/1742-6596/1961/1/012059.

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23

Srivastava, Anshu. "DIGITAL ART: A REVOLUTIONARY FORM OF ART & VISUAL COMMUNICATION." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 83–88. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3705.

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In this age of technology our life revolves around 2D; 3D images & graphics. Creativity has now crossed all the limits it can’t be restricted to brush and canvas. With the advent of various innovative software’s designing is on the bloom and art become flawless. Digital art is harmony with good knowledge of design software enables us enter into the digital media industry. Today when everything around us become digitalized, the art are taking this step toward the digital world as well. The digital art is a most accepted form of art in the contemporary Indian art. This revolutionary form of

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24

Blazheva, Sandra. "Tilt Brush. The New Perspective of Art." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 209–23. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_016.

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Interpenetration of ideas, culture, economics, raw materials and etc. are causing globalization in our society. This trend is also assisted by the growing technological innovations. Society is increasingly turning to digital tools to provide fast communications, access to information and goods through the global network, especially needed during the pandemic. In terms of art, these factors contribute to shifting the range from classical means of expression to contemporary art forms focused on digital media. Historically, the discovery of photography in the 19th century radically changed art. P

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25

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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26

Pitt, Sharon P., Christina B. Updike, and Miriam E. Guthrie. "Integrating Digital Images into the Art and Art History Curriculum." Journal of Library Administration 39, no. 2-3 (2003): 29–42. http://dx.doi.org/10.1300/j111v39n02_04.

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27

Cohen, Kathleen, James Elkins, Marilyn Aronberg Lavin, et al. "Digital Culture and the Practices of Art and Art History." Art Bulletin 79, no. 2 (1997): 187. http://dx.doi.org/10.2307/3046243.

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28

Cohen, Kathleen, James Elkins, Marilyn Aronberg Lavin, et al. "Digital Culture and the Practices of Art and Art History." Art Bulletin 79, no. 2 (1997): 187–216. http://dx.doi.org/10.1080/00043079.1997.10786732.

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29

Shin, Jun-Hyouk. "Waiting for Digital Art - digital vs analogue." Journal of the Korean Academy of Esthetic Dentistry 22, no. 1 (2013): 22–29. http://dx.doi.org/10.15522/kist.2013.22.1.022.

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30

Sandberg, Yorick, Bart A. van de Wiel, and Esther van Meerten. "Digital Acrometastasis." Arthritis & Rheumatology 67, no. 5 (2015): 1410. http://dx.doi.org/10.1002/art.39053.

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31

van Ginhoven, Sandra, and Claartje Rasterhoff. "Art Markets and Digital Histories." Arts 8, no. 3 (2019): 105. http://dx.doi.org/10.3390/arts8030105.

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This Special Issue of Arts investigates the use of digital methods in the study of art markets and their histories. Digital art history or historical research facilitated by computer-technology in general is omnipresent in academia and increasingly supported by an infrastructure of seminars, workshops, networks, journals and other platforms for sharing results, exchanging notes and developing criticism. As the wealth of historical and contemporary data is rapidly expanding and digital technologies are becoming integral to research in the humanities and social sciences, it is high time to refle

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32

Greenspun, Philip, and John Watkinson. "The Art of Digital Audio." Computer Music Journal 14, no. 1 (1990): 80. http://dx.doi.org/10.2307/3680121.

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33

Scalzo, Ted. "The Art of Digital Music." Music Educators Journal 92, no. 5 (2006): 30–31. http://dx.doi.org/10.2307/3878498.

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34

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

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35

Nitsche, Michael. "Performance art and digital media." Digital Creativity 24, no. 2 (2013): 93–95. http://dx.doi.org/10.1080/14626268.2013.806333.

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36

Coles, Laura Lee, and Philippe Pasquier. "Digital eco-art: transformative possibilities." Digital Creativity 26, no. 1 (2015): 3–15. http://dx.doi.org/10.1080/14626268.2015.998683.

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37

Rutten, Kris. "Participation, Art and Digital Culture." Critical Arts 32, no. 3 (2018): 1–8. http://dx.doi.org/10.1080/02560046.2018.1493055.

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38

Lughi, Giulio. "Digital Media and Contemporary Art." Mimesis Journal, no. 3, 2 (December 1, 2014): 43–52. http://dx.doi.org/10.4000/mimesis.686.

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39

Drucker, Johanna, Malcolm McCullough, Mary Anne Moser, et al. "Art and the Digital Revolution." Art Journal 58, no. 1 (1999): 107. http://dx.doi.org/10.2307/777898.

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40

Wands, Bruce. "2001: A Digital Art Odyssey." Leonardo 34, no. 5 (2001): 397–400. http://dx.doi.org/10.1162/002409401753521494.

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41

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

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42

Corder, P. F. "Digital detectives reveal art forgeries." Computing in Science & Engineering 7, no. 2 (2005): 5–8. http://dx.doi.org/10.1109/mcse.2005.30.

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43

Gere, Charlie. "Review: Christiane Paul, Digital Art." Art Book 11, no. 1 (2003): 45–46. http://dx.doi.org/10.1111/j.1467-8357.2004.00383.x.

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44

Carlton, Natalie R. "Digital culture and art therapy." Arts in Psychotherapy 41, no. 1 (2014): 41–45. http://dx.doi.org/10.1016/j.aip.2013.11.006.

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45

Gupta, Sonali. "THE RISE OF DIGITAL ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 161–64. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3729.

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The medium of digital art has existed for over a hundred years, but it’s only now that it’s getting the spotlight. Technology is a means of actions. Like a pencil or a canvas. Digital technology is the latest of a series of tool used by artist. According to digital artist “To me, my mouse, keyboard and text editor or DAW are what a paint brush palette and canvas would be to a painter. Traditional art workflow can be emulated in the digital domain or be augmented with digital practices. Digital art is defined as artistic works that utilized digital technology as part of the creative proce

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46

Aliyev, E. V. "Art Process in Digital Painting." Art & Culture Studies, no. 2 (June 2021): 406–19. http://dx.doi.org/10.51678/2226-0072-2021-2-406-419.

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Article is devoted to the research of art process features in digital painting. The retrospective analysis of art process in digital painting is reviewed. By means of the Venn diagram the basic properties of creative process in digital and non-digital painting are compared. It is shown that the art product of digital painting is coded into the computer. The big advantage of digital painting is that realizing an art plan, the artist can put new strokes, keeping thus each variant as the separate original. Besides, art process is realized, mainly, not on a stretcher but on a virtual plane — the c

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47

Garon, Jon M. "Commercializing the Digital Canvas." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (2014): 837–72. http://dx.doi.org/10.37419/lr.v1.i4.2.

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Over the past two decades, a series of trends in constitutional and intellectual property have significantly reshaped the impact of traditional intellectual property laws for the art community. Attribution of a work to the artist and protection of the integrity of a work from alternation are historical bedrocks of artistic protections, but those protections have been diminished for digital artists. The Visual Artists Rights Act excludes digital works from the definition of works of visual art, thus excluding these works from rights of attribution and integrity. At the time, rights of attributi

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48

Innocenti, Perla. "Preventing Digital Casualties: An Interdisciplinary Research for Preserving Digital Art." Leonardo 45, no. 5 (2012): 472–73. http://dx.doi.org/10.1162/leon_a_00448.

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There are practical problems associated with documentation, preservation, access, function, context and meaning of digital art. How do we care for similar works, and which are the theoretical and methodological challenges for curating and preserving digital art? Upon an ongoing case-based investigation of current digital and media art conservation practices at leading international museums, The author investigates how conservation for digital art could benefit from interdisciplinary synergies with Digital Preservation, Art Theory, and Information Management. A longer version of this paper enti

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49

Rinehart, Richard. "The Media Art Notation System: Documenting and Preserving Digital/Media Art." Leonardo 40, no. 2 (2007): 181–87. http://dx.doi.org/10.1162/leon.2007.40.2.181.

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This paper proposes a new approach to conceptualizing digital and media art forms. This theoretical approach will be explored through issues raised in the process of creating a formal declarative model (alternately known as a metadata framework, notation system or ontology) for digital and media art. The approach presented and explored here is intended to inform a better understanding of media art forms and to provide a practical descriptive framework that supports their creation, re-creation, documentation and preservation.

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50

Colman, Alison. "Net.art and Net.pedagogy: Introducing Internet Art to the Digital Art Curriculum." Studies in Art Education 46, no. 1 (2004): 61–73. http://dx.doi.org/10.1080/00393541.2004.11650069.

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