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== Various aspects of digital art ==
== Various aspects of digital art ==
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* [[Printed Circuit Art]]
* [[Printed Circuit Art (PC Art)]]
* [[Algorithmic art]]
* [[Algorithmic art]]
* [[Generative art]]
* [[Generative art]]

Revision as of 23:46, 9 April 2010

Digital art is an umbrella term for a range of artistic works and practices that utilize digital technology. Since the 1970s various names have been used to describe what is now called digital art including computer art and multimedia art but digital art is itself placed under the larger umbrella term new media art.[1] [2]

The impact of digital technology has transformed traditional activities such as painting, drawing and sculpture, while new forms, such as net art, digital installation art, and virtual reality, have become recognized artistic practices.[3] More generally the term digital artist is used to describe an artist who makes use of digital technologies in the production of art. In an expanded sense, "digital art" is a term applied to contemporary art that uses the methods of mass production or digital media.[4]


Examples of digital art

Various aspects of digital art

Digital production techniques in visual media

The techniques of digital art are used extensively by the mainstream media in advertisements, and by film-makers to produce special effects. Desktop publishing has had a huge impact on the publishing world, although that is more related to graphic design. It is possible that general acceptance of the value of digital art will progress in much the same way as the increased acceptance of electronically produced music over the last three decades.[5]

Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet.[6] Though technically the term may be applied to art done using other media or processes and merely scanned in, it is usually reserved for art that has been non-trivially modified by a computing process (such as a computer program, microcontroller or any electronic system capable of interpreting an input to create an output); digitized text data and raw audio and video recordings are not usually considered digital art in themselves, but can be part of the larger project of computer art and information art.[7] Artworks are considered digital painting when created in similar fashion to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas.[8]

Andy Warhol created digital art with the help of Amiga, Inc. in July of 1985 when he publicly introduction at Lincoln Center Amiga paint software. [9] [10]

Digital photography and image processing

Digital Photography and digital printing is now an acceptable medium of creation and presentation by major museums and galleries. But the work of artists who produce digital paintings and digital printmakers is beginning to find acceptance, as the output capabilities advance and quality increases. Internationally, many museums are now beginning to collect digital art such as the San Jose Museum of Art and the Victoria and Albert Museum print department also has a reasonable but small collection of digital art. One reason why the established art community finds it difficult to accept digital art is the erroneous perception of digital prints being endlessly reproducible. Many artists though are erasing the relevant image file after the first print, thus making it a unique artwork.

The availability and popularity of photograph manipulation software has spawned a vast and creative library of highly modified images, many bearing little or no hint of the original image. Using electronic versions of brushes, filters and enlargers, these "neographers" produce images unattainable through conventional photographic tools. In addition, digital artists may manipulate scanned drawings, paintings, collages or lithographs, as well as using any of the above-mentioned techniques in combination. Artists also use many other sources of electronic information and programs to create their work.[11]

Computer generated visual media

See also: Computer art

There are two main paradigms in computer generated imagery.[citation needed] The simplest is 2D computer graphics which reflect how you might draw using a pencil and a piece of paper. In this case, however, the image is on the computer screen and the instrument you draw with might be a tablet stylus or a mouse. What is generated on your screen might appear to be drawn with a pencil, pen or paintbrush. The second kind is 3D computer graphics, where the screen becomes a window into a virtual environment, where you arrange objects to be "photographed" by the computer. Typically a 2D computer graphics use raster graphics as their primary means of source data representations, whereas 3D computer graphics use vector graphics in the creation of immersive virtual reality installations. A possible third paradigm is to generate art in 2D or 3D entirely through the execution of algorithms coded into computer programs and could be considered the native art form of the computer. That is, it cannot be produced without the computer. Fractal art, Datamoshing, algorithmic art and Dynamic Painting are examples.

Computer generated 3D still imagery

Main article: 3D graphics

3D graphics are created via the process of designing complex imagery from geometric shapes, polygons or NURBS curves[12] to create three-dimensional shapes, objects and scenes for use in various media such as film, television, print, rapid prototyping and the special visual effects. There are many software programs for doing this. The technology can enable collaboration, lending itself to sharing and augmenting by a creative effort similar to the open source movement, and the creative commons in which users can collaborate in a project to create unique pieces of art.

Computer generated animated imagery

Main article: Computer-generated imagery
See also: Computer animation

Computer-generated animations are animations created with a computer, from digital models created by the artist[not specific enough to verify]. The term is usually applied to works created entirely with a computer. Movies make heavy use of computer-generated graphics; they are called computer-generated imagery (CGI) in the film industry. In the 1990s, and early 2000s CGI advanced enough so that for the first time it was possible to create realistic 3D computer animation, although films had been using extensive computer images since the mid-70s. A number of modern films have been noted for their heavy use of photo realistic CGI.[13]

Digital installation art

See also: interactive art

Digital installation art constitutes a broad field of activity and incorporates many forms. Some resemble video installations, particularly large scale works involving projections and live video capture. By using projection techniques that enhance an audiences impression of sensory envelopment, many digital installations attempt to create immersive environments. Others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces.[14]

Noah Wardrip-Fruin's interactive new media art piece entitled "Screen is an example of digital installation art. To view and interact with the piece, a user first enters a room, called the "Cave," which is a virtual reality display area with four walls surrounding the participant. White memory texts appear on the background of black walls. Through bodily interaction, such as using one's hand, a user can move and bounce the text around the walls. The words can be made into sentences and eventually begin to "peel" off and move more rapidly around the user, creating a heightening sense of misplacement.

"In addition to creating a new form of bodily interaction with text through its play, Screen moves the player through three reading experiences — beginning with the familiar, stable, page-like text on the walls, followed by the word-by-word reading of peeling and hitting (where attention is focused), and with more peripheral awareness of the arrangements of flocking words and the new (often neologistic) text being assembled on the walls. Screen was first shown in 2003 as part of the Boston Cyberarts Festival (in the Cave at Brown University) and documentation of it has since been featured at The Iowa Review Web, presented at SIGGRAPH 2003, included in Alt+Ctrl: a festival of independent and alternative games, published in the DVD magazines Aspect and Chaise, as well as in readings in the Hammer Museum's HyperText series, at ACM Hypertext 2004, and in other venues." [15]

List of digital artists

Citations

  1. ^ Christiane Paul (2006). Digital Art, pp 7-8. Thames & Hudson.
  2. ^ Lieser, Wolf. Digital Art. Langenscheidt: h.f. ullmann. 2009, pp. 13-15
  3. ^ Donald Kuspit The Matrix of Sensations VI: Digital Artists and the New Creative Renaissance
  4. ^ Charlie Gere Art, Time and Technology: Histories of the Disappearing Body (Berg, 2005). ISBN 978-1-84520-135-7 This text concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of so-called ‘real-time’ digital technologies. It draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-François Lyotard and André Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Kasimir Malevich, among others.
  5. ^ Charlie Gere, (2002) Digital Culture, Reaktion.
  6. ^ Christiane Paul (2006). Digital Art, pp. 27-67. Thames & Hudson.
  7. ^ Wands, Bruce (2006). Art of the Digital Age, pp. 10-11. Thames & Hudson.
  8. ^ Paul, Christiane (2006. Digital Art, pp. 54-60. Thames & Hudson.
  9. ^ Amiga: The Computer That Wouldn’t Die' http://design.osu.edu/carlson/history/PDFs/amiga-ieeespectrum.pdf
  10. ^ Andy Warhol makes a digital painting of Debbie Harry at the Commodore Amiga product launch press conference in 1985.
  11. ^ Frank Popper, Art of the Electronic Age, Thames & Hudson, 1997.
  12. ^ Wands, Bruce (2006). Art of the Digital Age, pp. 15-16. Thames & Hudson.
  13. ^ Lev Manovich (2001) The Language of New Media Cambridge, Massachusetts: The MIT Press.
  14. ^ Paul, Christiane (2006). Digital Art, pp 71. Thames & Hudson.
  15. ^ http://www.noahwf.com/screen/index.html

References

  • Donald Kuspit The Matrix of Sensations VI: Digital Artists and the New Creative Renaissance
  • Fred Forest (1998) " Pour un art actuel, l'art à l'heure d'Internet, l'Harmattan. ISBN 2-7385-7223-0, "Art et Internet", Cercle d'Art,2008. ISBN 978-2-7022- 0864-9
  • Paul, Christiane (2003). Digital Art (World of Art series). London: Thames & Hudson. ISBN 0-500-20367-9
  • Frank Popper (1997) Art of the Electronic Age, Thames & Hudson
  • Christine Buci-Glucksmann,(2002) La folie du voir: Une esthétique du virtuel, Galilée
  • Lev Manovich (2001). The Language of New Media Cambridge, Massachusetts: The MIT Press. ISBN 0-262-63255-1
  • Charlie Gere, (2002) Digital Culture, Reaktion ISBN 978-1-86189-143-3
  • Edward A. Shanken, Art and Electronic Media. London: Phaidon, 2009. ISBN 978-0-7148-4782-5
  • Wands, Bruce (2006). Art of the Digital Age, London: Thames & Hudson. ISBN 0-500-23817-0.
  • Ryan Bliss Artist Biography Digital Blasphemy 3D Wallpaper

Further reading

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  • Cynthia Goodman Digital Visions, Harry N. Abrams 1987
  • Fred Forest (1998) " Pour un art actuel, l'art à l'heure d'Internet, l'Harmattan. ISBN 2-7385-7223-0, "Art et Internet", Cercle d'Art,2008. ISBN 978-2-7022- 0864-9
  • Frank Popper, From Technological to Virtual Art, MIT Press/Leonardo Books, 2007
  • Frank Popper Ecrire sur l'art : De l'art optique a l'art virtuel, L'Harmattan 2007
  • Joline Blais and Jon Ippolito At the Edge of Art, Thames & Hudson Ltd, 2006
  • Digital fine art
  • Donald Kuspit "Del Atre Analogico al Arte Digital" in Arte Digital Y Videoarte, Kuspit, D. ed., Consorcio del Circulo de Bellas Artes, Madrid
  • Robert C. Morgan Digital Hybrids, Art Press Volume #255
  • Alan Liu The Laws of Cool, Chicago Press
  • Bruce Wands Art of the Digital Age, London: Thames & Hudson
  • Donald Kuspit The Matrix of Sensations VI: Digital Artists and the New Creative Renaissance
  • Wolf Lieser Digital Art, H.F. Ullmann Publishing, Germany. 4/2009, 276 pp., ISBN: 978-3-8331-5344-0
  • Lopes, Dominic McIver. (2009). A Philosophy of Computer Art. London: Routledge
  • Christiane Paul. Digital Art (World of Art series). London: Thames & Hudson. 2003 ISBN 0-500-20367-9
  • Peter Weibel and Shaw, Jeffrey, Future Cinema, MIT Press 2003, pp. 472,572-581, ISBN 0-262-69286-4
  • Christine Buci-Glucksmann, "L’art à l’époque virtuel", in Frontières esthétiques de l’art, Arts 8, Paris: L’Harmattan, 2004
  • Wilson, Steve Information Arts: Intersections of Art, Science, and Technology (MIT Press/Leonardo Books) ISBN 0-262-23209-X
  • Margot Lovejoy Digital Currents: Art in the Electronic Age Routledge 2004
  • Lev Manovich, Ten Key Texts on Digital Art: 1970-2000 Leonardo - Volume 35, Number 5, October 2002, pp. 567-569
  • Dick Higgins, ‘Intermedia’ (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970, London: Tate Publishing, 2005
  • Ernest Edmonds, Andrew Martin, Sandra Pauletto, (2004). Audio-visual interfaces in digital art. In: The Australasian Computing Education Conference; Vol. 74. Proceedings of the 2004 ACM SIGCHI International Conference on Advances in computer entertainment technology, Singapore, pp 331 – 336, ISBN:1-58113-882-2 [1]
  • Ernest Edmonds, Andrew Martin, Sandra Pauletto, (2004) Audiovisual Discourse in Digital Art, SIGGRAPH International Conference on Computer Graphics and interactive techniques, Los Angeles, USA, ISBN: 1-58113-896-2
  • Linda Candy, Ernest Edmonds (2002). Explorations in Art and Technology. Springer Verlag, 2002, 304 pp.


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  • Greg Turner, Ernest Edmonds. Towards a Supportive Technological Environment for Digital Art. In : Viller & Wyeth (Eds.) Proceedings of OzCHI2003: New directions in interaction, information environments, media and technology. 26-28 November 2003, Brisbane, Australia: Information Environments Program, University of Queensland. [2]
  • Linda Candy. (2002). Co-Creativity in Interactive Digital Art, Consciousness Reframed. Fourth International CAiiA-STAR Research Conference, 2-4th August, Perth: CD ROM. [3]
  • Carly Berwick, Digital Art - Collecting New Media, Art + Auction, June 2006
  • Nicolas Bourriaud, (1997) Relational Aesthetics, Dijon: Les Presses du Réel, 2002, orig. 1997
  • Rainer Usselmann, (2003)"The Dilemma of Media Art: Cybernetic Serendipity at the ICA London", Cambridge, Masschusetts: The MIT Press/Leonardo Journal - Volume 36, Number 5, October 2003, pp. 389-396
  • Rainer Usselmann, (2002)"About Interface: Actualisation and Totality", University of Southampton Press
  • Charlie Gere, (2006) White Heat, Cold Logic: Early British Computer Art, co-edited with Paul Brown, Catherine Mason and Nicholas Lambert, MIT Press/Leonardo Books
  • Mark Hansen, (2004) New Philosophy for New Media (Cambridge, MA: MIT Press
  • Oliver Grau, (2003) Virtual Art: From Illusion to Immersion (Leonardo Book Series). Cambridge/Mass.: MIT-Press.
  • Joseph Nechvatal (2009) Immersive Ideals / Critical Distances. LAP Lambert Academic Publishing
  • Fleischmann, Monika, Reinhard, Ulrike (2004) (eds.): Digital Transformations Media Art at the Interface between Art, Science, Economy and Society. Fraunhofer IAIS - MARS – Exploratory Media Lab and whois, Heidelberg 2004, ISBN 3-934013-38-4. And on netzspannung.org platform for Media Art & Electronic Culture.
  • James Faure Walker (2006) Painting the Digital River: How an Artist Learned to Love the Computer, Prentice-Hall (USA). ISBN 0-13-173902-6
  • Fred Forest (2008) Art et Internet, Editions Cercle D'Art / Imaginaire Mode d'Emploi
  • Robert C. Morgan, Commentaries on the New Media Arts Pasadena, CA: Umbrella Associates,1992
  • Sarah J. Rogers (ed), Body Mécanique: Artistic Explorations of Digital Realms, Columbus, Ohio, Wexner Center for the Arts, The Ohio State University, 1998
  • Joseph Nalven and JD Jarvis "Going Digital: The Practice and Vision of Digital Artists," Thompson Course Technology, July 2005, 432 pp., ISBN: 1-59200-918-2
  • Alan Kirby (2009) Digimodernism. New York: Continuum.
  • Anne-Cécile Worms, (2008) Arts Numériques: Tendances, Artistes, Lieux et Festivals M21 Editions 2008 ISBN: 2-916260-33-1.

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