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Artigos de revistas sobre o tema "Art and technology"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 25 de julho de 2025

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1

Chestney-Harvey, Kim. "Art + technology." ACM SIGGRAPH Computer Graphics 45, no. 1 (2011): 1–6. http://dx.doi.org/10.1145/1982562.1982566.

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2

Carlisle, Anne. "Art & Technology: Interactive Art." Circa, no. 73 (1995): 18. http://dx.doi.org/10.2307/25562848.

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3

Adie, Anthonia Ugiebeme. "Art and Technology: Graphic art." International Journal of Arts and Social Science 5, no. 3 (2023): 252–67. https://doi.org/10.5281/zenodo.7751120.

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The emergence of technologies has led to advancement in art production. Over the years, the field of art has witnessed a great transformation as a result of technology. Technology has redefined the art field in terms of art materials, medium and means of production thereby giving art a different dimension. Contemporary art practices are far appreciated now than before as a result of the fusion of technology. Graphic art practices have changed rapidly from what it used to be before early 19th century. There are technologies that have been used by graphic artists in creating suitable designs for

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4

Allen, Barry. "The Art of Technology and the Technology of Art." Roczniki Kulturoznawcze 13, no. 4 (2022): 21–23. http://dx.doi.org/10.18290/rkult22134.1.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.

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5

Vandiver, Pamela, and Jim Druzik. "Art and Technology." MRS Bulletin 17, no. 1 (1992): 14–17. http://dx.doi.org/10.1557/s0883769400043189.

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Art has as many meanings as contexts in which it operates. It can mean surface decoration or the integral sum of parts and whole which a historian analyzes as structure using visual, musical, theatrical or other criteria. Art serves as decoration, but also serves to signal or sign a particular meaning. Art often confers an elite social status on its patrons or provides goods which support the power and prestige of a special group or person. Art is also used to describe the experience of viewers, usually as “aesthetic experience”; for instance, we experience art as beauty, as a shared emotional

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6

Utida, Yositika. "Technology and Art." TRENDS IN THE SCIENCES 2, no. 9 (1997): 18–21. http://dx.doi.org/10.5363/tits.2.9_18.

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7

O'Brien, Paul. "Art and Technology." Circa, no. 44 (1989): 15. http://dx.doi.org/10.2307/25557394.

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8

Förster, Yvonne. "Art and Technology." Yearbook for Eastern and Western Philosophy 2018, no. 3 (2019): 122–34. http://dx.doi.org/10.1515/yewph-2018-0009.

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AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of

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9

Rajcetic, Zdravko. "Art and technology." Kultura, no. 136 (2012): 123–29. http://dx.doi.org/10.5937/kultura1236123r.

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10

Miller, Paul. "Art & technology." IEEE Spectrum 35, no. 7 (1998): 19. http://dx.doi.org/10.1109/mspec.1998.8362901.

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11

Hajar, Rachel. "Art, Medicine and Technology." Heart Views 15, no. 4 (2014): 135. http://dx.doi.org/10.4103/1995-705x.151097.

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12

Shopina, E., and M. Markova. "KASLI ART CASTING TECHNOLOGY." Technical Aesthetics and Design Research 2, no. 2 (2020): 29–36. http://dx.doi.org/10.34031/2687-0878-2020-2-2-29-36.

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The Kasli art casting technology is characterized by its uniqueness; the products are distinguished by precision of execution and uniqueness of style. The Kasli Casting Plant occupies a well-deserved first place in Russia in terms of quality and quantity of products. The object of the research is the features of each of the stages when creating of Kasli castings, as well as the distinctive features of the art casting technology. As a result of the study, the conclusion was formulated that the historical role of Kasli art casting is its influence on the decorative and applied art of Russia. Acc

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13

Malina, Roger F., and Peter Hill. "Art, Science and Technology." Leonardo 23, no. 1 (1990): 146. http://dx.doi.org/10.2307/1578487.

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14

Ascott, Roy. "Art, Technology and Consciousness." Convergence: The International Journal of Research into New Media Technologies 4, no. 3 (1998): 110–13. http://dx.doi.org/10.1177/135485659800400315.

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15

Diana, Maurizio. "On art and technology." World Futures 40, no. 1-3 (1994): 119–21. http://dx.doi.org/10.1080/02604027.1994.9972426.

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16

Arnold, Marion. "WOMEN, ART, AND TECHNOLOGY." Art Book 12, no. 3 (2005): 61–62. http://dx.doi.org/10.1111/j.1467-8357.2005.587_6.x.

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17

Janda, Richard. "Teaching, Art and Technology." Revue internationale des technologies en pédagogie universitaire 1, no. 1 (2004): 33. http://dx.doi.org/10.18162/ritpu.2004.31.

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18

Kuniyasu, Yo. "The Temporal Art Technology." Journal of the Society of Mechanical Engineers 96, no. 890 (1993): 17–20. http://dx.doi.org/10.1299/jsmemag.96.890_17.

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19

Austen, Kat. "Exploring technology in art." New Scientist 210, no. 2813 (2011): 46. http://dx.doi.org/10.1016/s0262-4079(11)61205-0.

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20

TOSA, Naoko. "ART & Technology : An Interactive Art Utilizing Fuzzy Technology : MIC & MUSE." Journal of Japan Society for Fuzzy Theory and Systems 9, no. 5 (1997): 648–55. http://dx.doi.org/10.3156/jfuzzy.9.5_648.

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21

Freedman, Kerry. "Visual Art/Virtual Art: Teaching Technology for Meaning." Art Education 50, no. 4 (1997): 6. http://dx.doi.org/10.2307/3193647.

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22

Firestein, Gary S., and David S. Pisetsky. "DNA microarrays: Boundless technology or bound by technology? Guidelines for studies using microarray technology." Arthritis & Rheumatism 46, no. 4 (2002): 859–61. http://dx.doi.org/10.1002/art.10236.

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23

Bezklyubenko, Sergey. "Poetics as Technology." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 1, no. 2 (2018): 31–39. https://doi.org/10.31866/2616-759x.2.2018.153221.

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The purpose of the article is to find out the technology role in art in general and in theater in particular. The prerequisite of such question is the indisputable fact that art, regarded as artistic creation, is one of the production types. This truth is fixed by language practice: an object of art (artifact) has long been called a work, that is, a product of production. Being a special (“spiritual”, and at the same time – artistic!) Production, art in general, and theatrical in particular, has all the basic properties of “production in general”, including o

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24

Voronin, Stan, and Bulat Galeyev. "Man: Art: Technology: The Problem of Synesthesia in Art." Leonardo 27, no. 5 (1994): 449. http://dx.doi.org/10.2307/1576112.

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25

Shanken, Edward A. "Art in the Information Age: Technology and Conceptual Art." Leonardo 35, no. 4 (2002): 433–38. http://dx.doi.org/10.1162/002409402760181259.

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Art historians have generally drawn sharp distinctions be-tween conceptual art and art-and-technology. This essay reexamines the interrelationship of these tendencies as they developed in the 1960s, focus-ing on the art criticism of Jack Burnham and the artists in-cluded in the Software exhibition that he curated. The historiciza-tion of these practices as distinct artistic categories is examined. By interpreting conceptual art and art-and-technology as reflections and constituents of broad cultural transformations during the information age, the author concludes that the two tenden-cies share

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26

Tytar, Olena, and Nikita Dronov. "PHILOSOPHY OF DIGITAL ART: SYNERGY OF ART AND TECHNOLOGY." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 69 (June 30, 2024): 26–31. https://doi.org/10.26565/2306-6687-2024-69-03.

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The goal is to study the philosophical and anthropological dimension of computerization and digitalization of humanity and their influence on modern art. Research methods — historical and philosophical, philosophy of art, analytical method, synergetics. Scientific novelty. An examination of the evolution of digital art growing out of technology - from digital photography and computer graphics to the use of artificial intelligence in the creation of new artistic images. The former reproducibility of the technical image is complemented by a new understanding of creativity and innovation in digit

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27

Rush, Michael, Philip Glass, Robert Wilson, Gary Hill, Meg Stuart, and Damaged Goods. "Art Extensions: Technology and Performance." PAJ: A Journal of Performance and Art 21, no. 2 (1999): 57. http://dx.doi.org/10.2307/3246004.

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28

Kiang, Tanya. "Art & Technology: Open Channel." Circa, no. 76 (1996): 43. http://dx.doi.org/10.2307/25562966.

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29

Borgmann, Albert, and Carl Mitcham. "Technology between Art and Religion." Philosophy Today 31, no. 2 (1987): 140–62. http://dx.doi.org/10.5840/philtoday198731210.

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30

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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31

Biswas, Amitava. "Managing art technology research collaborations." International Journal of Arts and Technology 1, no. 1 (2008): 66. http://dx.doi.org/10.1504/ijart.2008.019883.

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32

Peterson, Brent C., Kay Stovall, David E. Elkins, and Barbara Parker-Bell. "Art Therapists and Computer Technology." Art Therapy 22, no. 3 (2005): 139–49. http://dx.doi.org/10.1080/07421656.2005.10129489.

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33

Kanigel, Robert. "Technology as a Liberal Art." Change: The Magazine of Higher Learning 18, no. 2 (1986): 20–30. http://dx.doi.org/10.1080/00091383.1986.9937052.

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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

Skregelid, Lisbet. "BAD: Body – Art – Digital technology." Nordic Journal of Art & Research 13, no. 3 (2024): 1–26. https://doi.org/10.7577/ar.5454.

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During the first lockdown in March 2020, I started running two to three times a week to a nearby beach. Since then, I have stopped each time about halfway, and have been filming the sea view from the same spot for 30 seconds with my mobile phone. The now over 550 films (October 2024) are stored on the digital platform Padlet that makes it possible to share with others. The project My stunning stream - Made with a little mischief (Skregelid, 2020-) makes use of a/r/tography which is a practice-based methodological approach that unites art, education, and research. A/r/tography explores art, res

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36

Spalter, Anne. "Adventures in art and technology." Journal of Mathematics and the Arts 14, no. 1-2 (2020): 138–40. http://dx.doi.org/10.1080/17513472.2020.1732806.

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37

Kerlow, Isaac V. "Art + design + computer graphics technology." Communications of the ACM 34, no. 7 (1991): 30–39. http://dx.doi.org/10.1145/105783.105786.

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38

Armaroli, Luciano. "Technology and art against cancer." Lancet 353, no. 9149 (1999): 332. http://dx.doi.org/10.1016/s0140-6736(05)74887-x.

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39

Klipstein, P. C. "Photoconductivity, Art, Science and Technology." Journal of Modern Optics 38, no. 6 (1991): 1203. http://dx.doi.org/10.1080/09500349114551231.

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40

Whale, George. "Art, Technology and Symmetrical Collaborations." Journal of Visual Art Practice 1, no. 2 (2001): 80–88. http://dx.doi.org/10.1386/jvap.1.2.80.

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41

Carrier, David, and Didier Maleuvre. "Museum Memories. History, Technology, Art." Journal of Aesthetic Education 35, no. 2 (2001): 122. http://dx.doi.org/10.2307/3333680.

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42

Gangadharan, Seeta Peña. "Mail art: networking without technology." New Media & Society 11, no. 1-2 (2009): 279–98. http://dx.doi.org/10.1177/1461444808099581.

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43

Ellul, Jacques. "Remarks on Technology and Art." Bulletin of Science, Technology & Society 21, no. 1 (2001): 26–37. http://dx.doi.org/10.1177/027046760102100105.

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44

Rickey, George. "A Technology of Kinetic Art." Scientific American 268, no. 2 (1993): 74–79. http://dx.doi.org/10.1038/scientificamerican0293-74.

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45

Cass, S. "Electronic realism [art and technology]." IEEE Spectrum 38, no. 3 (2001): 68–73. http://dx.doi.org/10.1109/6.908875.

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46

Kozhagulov, Aidyn, Bauyrzhan Zhankushkov, Miyat Dzhanaev, Maria Derbissova, Tolkun Zhumasheva, and Sultan Bodan. "Competence development through art technology." World Journal on Educational Technology: Current Issues 14, no. 6 (2022): 1795–806. http://dx.doi.org/10.18844/wjet.v14i6.8339.

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The purpose of this research; is to evaluate the competence development process through art technology through the eyes of students studying in the visual arts and drawing department. The study group of the research consists of 40 visual arts and drawing department students studying at various universities in Kazakhstan. Research data were collected by semi-structured interview technique. The descriptive analysis technique was used in the analysis of the interviews with the students who constitute the sample group of the research. As a result of the research; it has been determined that the ma

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47

Boothroyd, S. A. "Photoconductivity, art, science and technology." Optics and Lasers in Engineering 15, no. 4 (1991): 283–84. http://dx.doi.org/10.1016/0143-8166(91)90070-a.

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48

Iskakova, Zhansaya, Roza Kassymova, Tansholpan Zhamalova, Anel Chalimbayeva, and Kamilya Utegenova. "New Art Therapy Technology – Quilling." Harmonia: Journal of Arts Research and Education 23, no. 2 (2023): 279–89. http://dx.doi.org/10.15294/harmonia.v23i2.43676.

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This research work aims to study the main features of quilling technology in art therapy, as well as its impact on group and individual consciousness. The study’s methodological approach was the search and theoretical analysis of thematic literature studying the quilling technique of art therapy, as well as art therapy in general. In this article, the theoretical method, the method of comparative analysis, as well as the method of pedagogical experiment were used. As a result of the scientific research, the technology of art therapy as such was analysed, and its components and influence on chi

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49

Bower, Rudi. "Heidegger, art, technology and luthiery." Acta Academica: Critical views on society, culture and politics 41, no. 4 (2009): 1–22. https://doi.org/10.38140/aa.v41i4.1224.

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Luthiery – the building of stringed instruments – is historically a discipline that has to a large extent evaded philosophical inquiry. This article seeks to explore the artistic and technological attributes of luthiery – with reference to guitar builders, in particular – using the thought of Martin Heidegger. His return to ancient Greek philosophy in determining the modes of technology and its initial close association with art will be interrogated and ultimately used to show that in luthiery, as practised by solitary luthiers as opposed to mass-produced factory instruments, both art and tech

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50

Campbell, Mary K. "Art in technology: A photo essay demonstrating the close relationship between art and technology." IEEE Potentials 6, no. 4 (1987): 9–11. http://dx.doi.org/10.1109/mp.1987.6500850.

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