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Journal articles on the topic 'Digital artworks'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Boscaino, Mattia. "Developing a Qualitative Approach to the Study of the Street Art World." Street Art & Urban Creativity 7, no. 2 (2021): 8–25. https://doi.org/10.25765/sauc.v7i2.473.

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Street art is a complex social phenomenon where many actors contribute to determining the value of creativities. Street artists, curators, bloggers, photographers, museums, galleries, the public, and other actors interact with street artworks and influence the way they are perceived. In this context, it is clear that both the value and meaning of street art is not exclusively dependent on the intentions of the authors but changes according to who views and uses the artwork for their purposes. Although diversity is interesting for the sake of research, finding a research methodology able to com

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2

ElSaid, W. K. "Watermarking Digital Artworks." International Journal of Computer Applications 125, no. 12 (2015): 17–23. http://dx.doi.org/10.5120/ijca2015906149.

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Barok, Dušan, Julie Boschat Thorez, Annet Dekker, David Gauthier, and Claudia Roeck. "Archiving complex digital artworks." Journal of the Institute of Conservation 42, no. 2 (2019): 94–113. http://dx.doi.org/10.1080/19455224.2019.1604398.

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NEWHOUSE, C. PAUL. "USING DIGITAL PORTFOLIOS FOR HIGH-STAKES ASSESSMENT IN VISUAL ARTS." Research and Practice in Technology Enhanced Learning 9, no. 3 (2022): 475–92. https://doi.org/10.58459/rptel.2014.9475-492.

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The collection and scoring of student artwork, for high-stakes assessment, across a large jurisdiction such as Western Australia is challenging. An alternative approach would be to submit digital representations of the artworks online for assessing. However, to give a valid and reliable measure the representations would need to be of adequate quality. Further, judgements of artworks are necessarily subjective giving concern about the reliability of scoring. The comparative pairs method of scoring lends itself to addressing this problem and is feasible where the work is in digital form. This pa

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

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Intangible cultural heritage is an important part of the excellent Chinese traditional culture. Protecting, passing on, and utilizing intangible cultural heritage is of great significance in continuing the historical lineage, strengthening cultural confidence, promoting civilization exchange and mutual understanding, and building a socialist cultural power. This paper provides a blockchain technology-based method for digital deposition of cultural relics and artworks by digitizing the information of the artwork or the owner of the cultural relic and the artwork itself, and then the digitized f

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

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Digital games have been used in the context of a cultural experience for several reasons, from learning to socialising and having fun. As a positive side effect, using digital games in a GLAM environment contributes to increasing the visitors’ engagement and making the collections more popular. Along this line, we present in this article an online game for museum environments that serves two goals: asking users to engage with the artworks in a collection in a playful environment, and collecting their feedback on artwork similarity, which may be used by curators to rethink the organisation of d

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Sadewa, I. Made Aditya Putra, Bambang Ari Wahyudi, and Irma Palupi. "Reversible Data Hiding Algorithms in Securing Digital Image Artwork." INTEK: Jurnal Penelitian 12, no. 1 (2025): 33–40. https://doi.org/10.31963/intek.v12i1.5193.

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In today's digital era, protecting digital artworks, particularly images, has become increasingly important to prevent copyright infringement and forgery. This paper proposes a novel method for embedding secret data into images using Reversible Data Hiding (RDH) techniques that leverage histogram shifting and random sub-blocks. The method is designed to maintain the visual integrity of the image while allowing the insertion of critical information, such as copyright metadata. The dataset used consists of 13 digital artworks sized 1280x720 pixels in PNG format, reflecting a diversity of texture

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Gagliardi, Claudia, Lorenzo Riparbelli, Paola Mazzanti, and Marco Fioravanti. "A Critical Review of Methods and Techniques Used for Monitoring Deformations in Wooden Panel Paintings." Forests 16, no. 3 (2025): 546. https://doi.org/10.3390/f16030546.

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Wooden panel paintings (WPPs) are among the most significant historical artworks that must be preserved for future generations. Ensuring their long-term conservation requires a comprehensive characterization of their condition, making monitoring an essential process. Thus, the primary objective of this study is to provide a comprehensive overview of the current techniques employed to study support deformations in WPPs, categorizing them into localized and full-field methods. Specifically, we provide information about linear potentiometric transducers, the Deformometric Kit, and Fiber Bragg Gra

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Post, Colin. "The Art of Digital Curation." Archivaria, no. 92 (January 6, 2022): 6–47. http://dx.doi.org/10.7202/1084738ar.

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Artists have long engaged with digital and networked technologies in critical and creative ways to explore both new art forms and novel ways of disseminating artworks. Net-based artworks are often created with the intent to circulate outside traditional institutional spaces, and many are shared via artist-run platforms that involve curatorial practices distinct from those of museums or commercial galleries. This article focuses on a particular artist-run platform called Paper-Thin, characterizing the activities involved in managing the platform as digital curation in a polysemous sense – as bo

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

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Interactive multimedia art shows a complex nature as it is time- and process-based, interconnected with technology, derived by the participation of several authors (artists, technicians, performers, to name a few) and an audience, and it is strongly tied to the moment and space of the original exhibition. These characteristics make the preservation of these artworks a multifaceted process. Building on the foundations developed since the 2000s by international projects focused on preserving and restoring these new art forms, the paper proposes an original model for achieving dynamic preservatio

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Perreau, Madeleine Elna, Muhammad Fauzan Abu Bakar, Muhamad Hafiz Hassan, Valerie Michael, and Mohd Razif Mohd Rathi. "The impact of technology development upon art essence intricacy on arts: The perspective of art practitioners in Malaysia." International Journal of Asian Social Science 13, no. 10 (2023): 328–43. http://dx.doi.org/10.55493/5007.v13i10.4898.

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This paper presents and discusses the relative issues of the development of modern technology that directly impact the creation of artwork. The artistic value has always been argued and discussed as the era changes occasionally. The artistic world has again learned the value of integrating and applying technology to artists' artworks. The technology enforcement, in alignment with the demands of the new generations, kept contextual and conceptual artworks secondary. This paper will elaborate on the relationship between technological applications and artworks' impact. As the digital era shifted

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Zakaria, Salehuddin, Rafeah Legino, and Mohammad Kamal Abdul Aziz. "The Concept of National Identity in the Artwork of Female Artists in Malaysia." Environment-Behaviour Proceedings Journal 7, SI8 (2022): 81–85. http://dx.doi.org/10.21834/ebpj.v7isi8.3918.

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This study examines the national identity elements of the Fatimah Chik and Khatijah Sanusi artworks, which begins with the examination of relevant material, including examples of national identity-related works and visual data on the results of Malaysian female artists obtained through digital photographs and records. Identifying and recognising national identity in Malaysian female artists' works is categorised by the artwork's profile. The artwork's focus and criteria will be mapped with the inquiry of the National Cultural Congress's study (NCC). Women's attitudes in art production reflect

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Ivsic, Lucija, Jon McCormack, and Vince Dziekan. "The point cloud aesthetic: Defining a new visual language in media art." Virtual Creativity 13, no. 2 (2023): 213–29. http://dx.doi.org/10.1386/vcr_00085_1.

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The development of remote sensing technologies, such as Light Detection and Ranging (LiDAR) and photogrammetry, accompanied by the exponential growth of easy-to-use 3D scanning applications and associated post-processing software, have made point cloud datasets accessible to a widening range of artists, designers and creative technologists. Does this growing interest and increased accessibility indicate the emergence of a new digital art medium? This article offers an analysis of artworks that help define this point cloud aesthetic as a distinctive visual language while contextually situating

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

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Abstract This article argues for the value of using formal models within the (digital media) artwork. Eschewing the antiformalism common to much of postmodernism, it argues for a more active engagement with formal concerns. Without embracing the totalizing theories of late modernist formalism, or discarding the idea of “the concept,” the author argues for a more formal approach to the making of the (digital media) artwork. The goal is to point to models that can be used to intimately connect form and concept rather than treat them as separate or warring entities. The article critically explore

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

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

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Kang, Xin, Wenyin Chen, and Jian Kang. "Art in the Age of Social Media: Interaction Behavior Analysis of Instagram Art Accounts." Informatics 6, no. 4 (2019): 52. http://dx.doi.org/10.3390/informatics6040052.

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Instagram is the top preferred social media platform in the art world, however, we know little about the features of the most-liked artworks, and what role does the interaction between artists and followers play in the most-liked artworks? This study used quantitative and qualitative methods to examine the interaction between artists and followers on Instagram and the features of the most-liked artworks. Data from 706 artists’ accounts 497,649 posts on Instagram and 35 questionnaires. The results reveal that likes and comments were greatly influenced by interactions, with confusion and curiosi

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Çakır, Erdinç, Mahmut Sami Öztürk, and Mevlüt Ünal. "Interpainting as a Creating Method in Digital Illustration: Reinterpretations from Movie Scenes." Bilim, Eğitim, Sanat ve Teknoloji Dergisi (BEST Dergi) 3, no. 2 (2019): 78–88. https://doi.org/10.46328/seat.v3i2.32.

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Interpainting is used to quote a contemporary artwork or to describe reinterpreted works of art. It is inevitable that the interaction is in every field as well as in the field of art. Photography has changed our art and perception style in IXX. Century. As the photography gives birth to the cinema, digital illustrations are a good example of the relationship between technology and art in the meaning that new artistic works will be produced from the cinema. Even though the canvases are not replaced by computer screens yet fully benefit greatly from the computer or technology when designing the

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Bao, Hongwei. "Sharing food, vulnerability and intimacy in a global pandemic: The digital art of the Chinese diaspora in Europe." Journal of Contemporary Chinese Art 8, no. 2 (2021): 129–45. http://dx.doi.org/10.1386/jcca_00041_1.

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This article examines the digital artworks created by three Chinese diaspora artists based in Europe: Berlin-based queer filmmaker Fan Popo’s short digital video Lerne Deutsch in meiner Küche (‘Learn German in my kitchen’), London-based performance artist Zeng Burong’s performance Non-Taster and London-based writer David K. S. Tse’s digital radio play The C Word. All three artworks were created in 2020 during the pandemic and all deal explicitly with the issues of anti-Asian racism and cross-cultural understanding. All these artworks also engage with issues of food and culinary practices. Thro

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Zavyalov, Aleksey Sergeevich. "WEB 2.0 SOCIAL CHARACTERISTICS AND DIGITAL ARTWORKS." Bulletin of the Moscow State Regional University (Philosophical science), no. 3 (2016): 47–53. http://dx.doi.org/10.18384/2310-7227-2016-3-47-53.

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Yusuf, Vanessa. "The Potential of Pop-Up Artworks for Visual Communication in Digital Media." k@ta 26, no. 00 (2024): 159–68. http://dx.doi.org/10.9744/kata.26.00.159-168.

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The pop-up mechanism or paper engineering is often referred to as a physical card or book, which can show 3D objects when it is opened. In fact, pop-up artworks can also be found in digital media such as movies, animation, video games, video advertisement, and music video. There are many interesting differences between physical pop-up and digital pop-up that can be analyzed to maximize its potential and create great visual effects, especially in digital media. This research uses a qualitative descriptive method by collecting data through observation of digital pop-up artworks and literature st

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

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This paper investigates non-fungible tokens, or NFTs, and examines their place within art historical canon. Crypto-art and crypto-collectibles have flooded digital markets, offering unique art. Recently, Beeple’s Everydays—The First 5000 Days, the first digital artwork fitted with a non-fungible token offered by the major auction house Christie’s, sold for $69,346,250 on March 11, 2021. It is the third most expensive artwork sold by a living artist, following Jeff Koon’s sculpture Rabbit (1986) and David Hockney’s painting Portrait of an Artist (Pool with Two Figures) (1972). While Jeff Koons

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

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The development of digital technology can be a double-edged knife for the creative industry. It is undeniable that the ease of obtaining anything from internet can lead to a new problem, one of which is copyright infringement. Copyright of digital artworks should be protected since without which it will harm the rights of art workers who upload their works in the internet. The purpose of this research is to discuss and understand the copyright protection for digital artworks as well as some legal remedies that can be taken against infringement of the exclusive rights of the creators. This norm

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Kirilenko, V. P., G. V. Alekseev, and A. S. Rumyantsev. "Copyright and Digital Sovereignty." EURASIAN INTEGRATION: economics, law, politics 17, no. 1 (2023): 76–88. http://dx.doi.org/10.22394/2073-2929-2023-01-76-88.

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Digital transformation affects all social spheres bringing to life interactive technologies and virtual reality. Since the virtual (digital) space depends on the digital and creative solutions that form its technological base, insofar the legal regime of copying creative solutions affects both the freedom of creativity necessary for sustainable development and public control which is significant for maintaining the manageability of sovereign states and integrational unions.Aim. Improving the legal regime for the protection of interactive works to create a universal and harmonious information s

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Wang, Yuxin. "Redesigning museum display models in the context of digitalization." International Journal of Applied and Creative Arts 7, no. 1 (2024): 23–37. https://doi.org/10.33736/ijaca.5819.2024.

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After decades of digital tide washing the world, even one of the most sacred existences in human life, art, has to go through evolution and make some adaptions. The materials used in artists' creations, the artworks' presence in time and space as objects, and the economic properties of art have all been changed drastically as a response to the rapidly growing cybernetic world. An increasing number of digital artworks show up on the internet every day, whether they are the documentation of physical artworks in the real world or completely digital pieces that only live in the cybernetic world. A

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Palazzi, Claudio E., and Marco Roccetti. "A Groupware for Pigment Identification in Cultural Heritage." International Journal of Virtual Reality 8, no. 3 (2009): 51–56. http://dx.doi.org/10.20870/ijvr.2009.8.3.2742.

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The preservation of cultural heritage is a multidisciplinary field of study that is aimed at analyzing and preserving ancient artifacts. Nowadays, cultural heritage investigators can make use of available non-invasive solutions able to provide useful information about materials, techniques, and retouches. Yet, investigations on artworks are manually performed with very little automation. This is due to the need for the unique expertise of human operators but also to the lack of adequate digital support. To this aim, we have designed a groupware for supporting collaborative work among cultural

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

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This paper focuses on the technology impact via Blockchain to change consumer behavior in the digital art industry. The paper objectives are three folds: first, analyze the impact of Ethereum in selling digital artwork and on the bank world. Second, investigate the effects of Non-Fungible Token on the art industry. Third, highlight how people can sell their artworks, tweets, or even memes for thousands of dollars. Fourth, explain the effect of Ethereum in creating value for artwork and why a meme that includes nothing unique to be sold for an unbelievable price? The paper provides insights on

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Damiani, Concetta. "Certification and preservation of artworks in digital environments." JLIS.it 13, no. 2 (2022): 189–202. http://dx.doi.org/10.36253/jlis.it-467.

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Reflecting about the documentary heritage of artists requires the consideration of archival, legal, historical-artistic and museological factors. If the analogue productions of artifacts and the correlated documentation have been studied, transferring the creative perspective into a digital environment asks to face a reality in turmoil: the ways of expressing and representing contemporary art, in balance between digital and crypto art, require new visions in the production and management of works. In this redefinition of roles and relationships, which almost exclusively concern the documentary

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Bañez, Richard Mendoza. "Thematic Construction of Digital Visual Arts: Implications for Digital Pedagogy." Journal of Learning for Development 10, no. 2 (2023): 196–209. http://dx.doi.org/10.56059/jl4d.v10i2.773.

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This paper attempts to describe the signifier choice of student artists in thematic representations of digital visual arts and determine its implications for digital pedagogy. Utilising a qualitative approach to research and covering a corpus of six digital artworks of student artists, the semiotic analysis utilising Peirce’s (1991) sign modes showed the student artists’ preference for mostly indexical and symbolic signifiers in thematic representations of Filipinos’ resiliency to the pandemic. This signifier choice of student artists was influenced by their experience, family, self, other art

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Jiang, Yong. "Based on Virtual Reality Technology Research on Innovation and Design of Ceramic Painting Products." Mathematical Problems in Engineering 2022 (July 20, 2022): 1–7. http://dx.doi.org/10.1155/2022/4421769.

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In order to obtain the complete color point cloud data of traditional ceramic artworks and reconstruct them efficiently, a 3D digital reconstruction method of ceramic painting products based on virtual reality technology was proposed. By the method, the 3D color point cloud data of ceramic works were collected by the camera 3D scanning equipment. The new postprocessing methods such as fusion and repair were investigated and proposed so as to obtain the complete optimized color point cloud information. The high-fidelity 3D mesh model and simplified mesh of ceramic artworks were obtained through

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Zapata Guzmán, Ana María, Ludovica Schaerf, Darío Negueruela del Castillo, and Iacopo Neri. "Digital F(r)ictions: Reimagining Colombian Art and its Territory." Proceedings of the ACM on Computer Graphics and Interactive Techniques 8, no. 3 (2025): 1–12. https://doi.org/10.1145/3736785.

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Digital F(r)ictions is an interactive web-based artwork that re-imagines the territory of Colombia as a hybrid double of the country’s artistic and environmental landscape. It creates a fiction of a new territory that goes beyond the satellite map, an intentional friction between different ways of seeing and representing Colombian territory. Juxtaposing to the "data colonialism" of mainstream artificial intelligence (AI) gaze, it fine-tunes Stable Diffusion on the Modern Art Museum of Bogotá (MAMBO) collection, alongside works from three additional Colombian artistic traditions. For each MAMBO

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O'Brien, Daniel Paul. "The Pervasive and the Digital." International Journal of E-Politics 8, no. 3 (2017): 30–41. http://dx.doi.org/10.4018/ijep.2017070103.

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This paper discusses two immersive story worlds between two distinct interactive artworks. Blast Theory's A Machine to See With (2010) is a pervasive fictional experience that enables users, through the technology of their mobile phone, to become immersed within a fictional crime scenario across a real geographical setting. Dennis Del Favero's art project, Scenario (2011), by contrast, is an interactive and immersive story that takes place in a 360-degree digital cinematic space called an AVIE (Advanced Visualization and Interaction Environment). This immersive world is a mixed reality environ

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Sookkaew, Jirawat, Phanom Chongkon, and Nakarin Chaikaew. "Technology of Digital Art for Adapting Ancient Visual Art Designs." International Journal of Emerging Technology and Advanced Engineering 12, no. 8 (2022): 125–35. http://dx.doi.org/10.46338/ijetae0822_16.

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Visual arts, design, and the creation of visual arts have been beginning along with human life for a long time. They have evolved in parallel together. The creation of human visual art is driven by inspiration and driven and taken to be a visual artwork. Creating digital art is a prevalent tool in today's era. It is a creative art technique that combines digital technology and the creation of visual artworks together. Bringing the cultural value of art that is the heritage of our ancestors who have created art that is considered valuable for future generations by using digital art for inherita

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Stamatopoulou, Eugenia, Maria Karoglou, and Asterios Bakolas. "Integration of NDT to Assess Composite Contemporary Artworks Made on Photosensitized Cement." Heritage 6, no. 12 (2023): 7261–76. http://dx.doi.org/10.3390/heritage6120381.

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Non-destructive techniques (NDT) have enhanced their usefulness in the field of cultural heritage protection and have become valuable tools for the investigation of composing materials, as well as for the detection of alteration and degradation of various structures. In the current study, non-destructive techniques, based on digital photography processing and analysis (digital photography-Vis/UVF, portable digital optical microscopy, colorimetry, infrared thermography), are used for the examination of three composite contemporary artworks created on photosensitized cement. This approach was ap

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Nardelli, Enrico. "A Viewpoint on the Computing-Art Dialogue: The Classification of Interactive Digital Artworks." Leonardo 47, no. 1 (2014): 43–49. http://dx.doi.org/10.1162/leon_a_00700.

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The author provides a viewpoint on the dialogue between computing and art by describing a framework for classification of Interactive Digital Artworks: information technology systems in which spectators are involved in the production of the artistic output. The author bases his approach on the input-process-output view of information systems and relates it to the “Computing as a Science” viewpoint. The framework is validated by classifying 33 interactive digital artworks presented at various international exhibitions.

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Halim, Chandera, and Anastasia Angger Sukmaningrum. "COPYRIGHT PROTECTION FOR NON-FUNGIBLE TOKENS AS DIGITAL ARTWORKS." Citizen : Jurnal Ilmiah Multidisiplin Indonesia 4, no. 4 (2024): 374–81. https://doi.org/10.53866/jimi.v4i4.659.

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The current technological developments have provided convenience for society in accessing the internet, which can be utilized in various fields, one of which is the economy. In economic activities through digital media, the term "digital economy" is used. Digital economic activities cannot be separated from copyright objects that are traded as goods. Considering that examining copyright issues ultimately leads to the concept of law itself, especially regarding efforts to protect the results of two-dimensional art in the form of Non-Fungible Tokens (NFTs), it is important to address this matter

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Ciortan, Irina-Mihaela, Sony George, and Jon Yngve Hardeberg. "Colour-Balanced Edge-Guided Digital Inpainting: Applications on Artworks." Sensors 21, no. 6 (2021): 2091. http://dx.doi.org/10.3390/s21062091.

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The virtual inpainting of artworks provides a nondestructive mode of hypothesis visualization, and it is especially attractive when physical restoration raises too many methodological and ethical concerns. At the same time, in Cultural Heritage applications, the level of details in virtual reconstruction and their accuracy are crucial. We propose an inpainting algorithm that is based on generative adversarial network, with two generators: one for edges and another one for colors. The color generator rebalances chromatically the result by enforcing a loss in the discretized gamut space of the d

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Neustetter, Marcus. "Analogue and Digital Anecdotes and Artworks from South Africa." Third Text 23, no. 3 (2009): 323–34. http://dx.doi.org/10.1080/09528820902954952.

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Huson, David. "Further Developments in the Digital Fabrication of Ceramic Artworks." NIP & Digital Fabrication Conference 25, no. 1 (2009): 799–802. http://dx.doi.org/10.2352/issn.2169-4451.2009.25.1.art00106_2.

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Xia, Yu, and Jong-Rae Park. "A Study of Spiritual Immersion in Digital Media Artworks." Korean Journal of animation 20, no. 1 (2024): 44–62. http://dx.doi.org/10.51467/asko.2024.03.20.1.44.

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Reddiar, Surajkumar. "NFT – MARKETPLACE USING ICP BLOCKCHAIN AND CUSTOM TOKENS." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 04 (2024): 1–5. http://dx.doi.org/10.55041/ijsrem32192.

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The Cutting-Edge ICP Blockchain Marketplace is a groundbreaking platform revolutionizing NFT trading through the innovative utilization of the Internet Computer Protocol (ICP) blockchain. Our marketplace provides a secure, transparent, and tamper-proof environment for buying, selling, and trading NFTs. With a user-friendly React frontend, users can seamlessly navigate through a diverse collection of NFTs, including digital artwork, collectibles, virtual real estate, and domain names. Simplified trading processes empower users to list NFTs, set prices, and engage in secure transactions effortle

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Simonova, S. A., and G. B. Atalyan. "TOWARDS THE ISSUE OF EVOLUTION OF ART IN THE 20TH AND 21ST CENTURIES: CULTUROLOGICAL ANALYSIS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 84 (2022): 84–92. http://dx.doi.org/10.37313/2413-9645-2022-24-84-84-92.

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Art, its role, ways of creation, translation and perception have undergone significant changes in the course of the last century. In general, one can talk of aestheticisation of culture, which could not but have a certain impact on art. The departure from “classical art” began already in the epoch of modernism. The “digital turn” has contributed to new hypostasis of art in culture. The virtual medium has introduced new, unprecedented opportunities both in technical and spiritual aspects. Artworks have become more accessible to the general public, with a possibility of user intervention in crea

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Hamacher, Sophie. "On Walter Benjamin's “Thirteen Theses Against Snobs”." October, no. 190 (2024): 95–106. https://doi.org/10.1162/octo_a_00522.

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Abstract This article analyzes Walter Benjamin's “Thirteen Theses Against Snobs” (1925), a cryptic text that explores the relationship between artworks and documents. The analysis originates from conversations between the author and her father, literary scholar Werner Hamacher, during her undergraduate years following her visit to Documenta 11 in 2002. Through close reading and translation work, Hamacher examines Benjamin's complex binary oppositions between artworks and documents, revealing how these distinctions remain relevant to contemporary discussions about documentary practices, particu

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Li, Pingping. "Interpretation of Online Artworks of Digital Art Design in the New Media Environment." Journal of Environmental and Public Health 2022 (June 20, 2022): 1–9. http://dx.doi.org/10.1155/2022/9566844.

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In order to realize the interpretation of online artworks, the art design of artworks is studied on the basis of new media digital environment. Through the presentation of digital works, the enhancement of dramatic art appreciation, the balanced display of art appreciation, and the enhancement of digital aesthetic creation, the interpretation of artworks has been successfully completed, which strongly supports the digitization of new media. Art design is to constantly breed an updated online art space and attract and summon more viewers’ new experience, new creation, and new perception so as t

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Adams, Patricia. "Mediating Corporeality: Re-Interpretations at the Art/Science Interface." Somatechnics 2, no. 2 (2012): 284–304. http://dx.doi.org/10.3366/soma.2012.0062.

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Contemporary scientific discoveries are rapidly modifying established concepts of embodiment and corporeality. For example, developing techniques in adult stem cell research can actively remodel the human body; whilst neuroscientists are shedding increasing light on the functioning of our brains. My research at the art/science nexus draws upon recent media theories to investigate the ways twenty-first century constructs of ‘humanness’ and the ‘self’ are affected by both historical and contemporary scientific research and developments in digital imaging technologies. In this article, examples f

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Botticelli, Peter. "Preserving Artworks Digitally: The Case of Andy Warhol’s Polaroid Photographs." Preservation, Digital Technology & Culture 44, no. 3 (2015): 123–34. http://dx.doi.org/10.1515/pdtc-2015-0017.

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AbstractAs museum objects are digitized, curators will need to examine closely the potential for digital objects to represent, and possibly distort, the authentic information contained in material objects. This work examines the complex preservation issues facing Polaroid photographs by Andy Warhol, as a case example of a distributed collection of relatively fragile, non-reproducible photographs which have recently been digitized, but with uncertain consequences for how audiences might experience the Polaroids in digital form. With the potential for digital objects to outlast the Polaroids, th

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Yang, Yawen, Valerie Michael, and Shahriman Zainal Abidin. "Integrating AI-Generated Content and Micro Materials for Line Drawing Conservation for Chinese Art Preservation." Malaysian Journal of Social Sciences and Humanities (MJSSH) 10, no. 3 (2025): e003158. https://doi.org/10.47405/mjssh.v10i3.3158.

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their cultural and artistic significance, faces unique challenges due to their delicate nature and intricate details. Traditional conservation methods often fall short in addressing the complexities of these artworks, necessitating innovative solutions to maintain their aesthetic and structural integrity. This study explores the integration of AI-generated content (AIGC) and micro materials in conserving Chinese line drawings. The objectives are to enhance aesthetic restoration, structural reinforcement, and long-term preservation while respecting the cultural significance of these artworks. T

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Đurić, Isidora, Saša Medić, Dejan Ecet, Stanislav Grgić, and Jelena Atanacković Jeličić. "Enhancing Public Space Experiences: Evaluating Perception of Digital and Digitized Sculptures in Augmented Reality." Applied Sciences 15, no. 2 (2025): 870. https://doi.org/10.3390/app15020870.

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Augmented reality (AR) technologies offer innovative possibilities for creating virtual artworks that seamlessly blend digital and physical elements, thereby enhancing public spaces and engaging users with both their environment and the AR content. Key concepts for assessing user experiences in AR environments include immersion, with subcategories that further elaborate on this concept. This research aims to explore the potential of AR as a tool for presenting and evaluating artworks in public spaces, with a particular focus on user engagement and immersion in AR content. Additionally, it seek

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Andila, Silvina, and Ana Silviana. "Theft of Digital Painting Artworks: A Review of the Legal Protection of Art Industry Perpetrators in Indonesia." AL-MANHAJ: Jurnal Hukum dan Pranata Sosial Islam 6, no. 1 (2024): 151–62. http://dx.doi.org/10.37680/almanhaj.v6i1.4603.

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As a result of globalization and technology breakthroughs, digital painting has become more popular in Indonesia and has enabled artists to display their work online. Still, art theft is a serious problem, especially for artists who contribute to the art industry.The purpose of this research is to find out the technological developments, impact, and legal protection against theft of digital painting cases against perpetrators of the art industry in Indonesia. Research methods are qualitative research with descriptive and analytical approaches. The conclusion of this study is that the dynamics

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Chen, Xushang, and Shuwei Li. "Discussion and Practice of Bionic Design from Nature to Digital in 3D Printing Art." International Journal of Education and Humanities 16, no. 1 (2024): 283–86. http://dx.doi.org/10.54097/4yz2dq03.

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This study explores the application and interactivity of digital modeling and 3D printing technologies in art creation. It first outlines the definition, development, and significance of digital modeling art in contemporary art. It then analyzes the background of 3D printing technology and its diverse applications in the art field, particularly its combination with biomimicry, which allows for new artistic expressions by imitating natural structures and forms.The research finds that the interactivity of digital modeling and 3D printing not only broadens artists' creative horizons but also enha

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Milani, Federico, and Piero Fraternali. "A Dataset and a Convolutional Model for Iconography Classification in Paintings." Journal on Computing and Cultural Heritage 14, no. 4 (2021): 1–18. http://dx.doi.org/10.1145/3458885.

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Iconography in art is the discipline that studies the visual content of artworks to determine their motifs and themes and to characterize the way these are represented. It is a subject of active research for a variety of purposes, including the interpretation of meaning, the investigation of the origin and diffusion in time and space of representations, and the study of influences across artists and artworks. With the proliferation of digital archives of art images, the possibility arises of applying Computer Vision techniques to the analysis of art images at an unprecedented scale, which may

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