From analogue to digital: preserving early computer-generated art in the V&A’s collections

2010 ◽  
Vol 35 (3) ◽  
pp. 10-16
Author(s):  
Douglas Dodds
Keyword(s):  
Computer Art ◽  
Art Collections ◽  
Art And Design ◽  
Early Computer ◽  
Digital Material ◽  
History Of ◽  
Analogue To Digital ◽  
Victoria And Albert Museum

The Victoria and Albert Museum holds the UK’s emerging national collection of early computer-generated art and design. Many of the earliest works only survive on paper, but the V&A also holds some born-digital material. The Museum is currently involved in a project to digitise the computer art collections and to make the information available online. Artworks, books and ephemera from the Patric Prince Collection and the archives of the Computer Arts Society are included in a V&A display on the history of computer-generated art, entitled Digital pioneers. In addition, the project is contributing to the development of the Museum’s procedures for dealing with time-based media.

Visual Approach to Translating Data

2014 ◽  
pp. 226-246
Keyword(s):  
Computer Simulation ◽  
Problem Solving ◽  
Short Note ◽  
Graphical Display ◽  
Graphic Display ◽  
Art And Design ◽  
Early Computer ◽  
Art Works ◽  
Visual Approach ◽  
History Of

This chapter examines some of the tools that enable a visual approach to translating data, beginning with a comparison of the use of a computer versus pencil in visual communication. A short note follows, discussing the evolution of imaging with the use of computing: the history of computers and then some examples of graphic display and early computer-generated art works. This is followed by a discussion of the basic ways of graphical display of data and strategies for visual problem solving in the context of art and design. Thoughts on visual translation of data include an introduction to computer simulation. Examples of computer simulation and evolutionary computing conclude the chapter.

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

scholarly journals The Red Gown: Reflections on the Visual History of Menstruation in Scotland

2022 ◽  
Author(s):  
Camilla Mørk Røstvik ◽  
Bee Hughes ◽  
Catherine Spencer
Keyword(s):  
Visual Culture ◽  
Public Discourse ◽  
First Century ◽  
Font Size ◽  
Art Collections ◽  
Special Collections ◽  
History Of ◽  
Late Twentieth ◽  
The Town ◽  
Made In

Over the last decades, menstruation has become more present in public discourse in Scotland.While scholars are increasingly documenting this change, little attention has been paid to therole of menstrual art made in Scotland. In this article, we explore the historic contexts ofmenstrual art in the town of St Andrews and in Scotland during the late twentieth and earlytwenty-first century, and ask what this reveals about menstrual absence and presence in publicdebates. We do this in collaboration with artist Bee Hughes, whose practice focuses on thevisible and invisible aspects of menstruation, and who was artist in residence at St Andrews in2020. Due to a university strike and a pandemic, our collaboration changed and subsequentlyfocused more on the histories of menstrual art. We thus assess symbols and collections ofmenstrual visual culture in Scotland, including the use of the ceremonial red gown at theUniversity of St Andrews, and menstrual art collections at Glasgow Women’s Library and StAndrews Special Collections. Together, we reflect on how their histories might be both present(institutionalised) and absent (when not on display). This paper presents the first stage of ourfindings, in which the artist reflects on their first visit to St Andrews prior to a university strikeand the Covid-19 pandemic, and the historic materials we located together.@font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Times;panose-1:0 0 0 0 0 0 0 0 0 0;mso-font-alt:﷽﷽﷽﷽﷽﷽﷽﷽man;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:-536870145 1342185562 0 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0cm;margin-bottom:.0001pt;line-height:115%;mso-pagination:widow-orphan;font-size:11.0pt;font-family:"Arial",sans-serif;mso-fareast-font-family:Arial;mso-ansi-language:EN;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:"Arial",sans-serif;mso-ascii-font-family:Arial;mso-fareast-font-family:Arial;mso-hansi-font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN;}.MsoPapDefault{mso-style-type:export-only;line-height:115%;}div.WordSection1{page:WordSection1;}@font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Times;panose-1:0 0 0 0 0 0 0 0 0 0;mso-font-alt:﷽﷽﷽﷽﷽﷽﷽﷽man;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:-536870145 1342185562 0 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0cm;margin-bottom:.0001pt;line-height:115%;mso-pagination:widow-orphan;font-size:11.0pt;font-family:"Arial",sans-serif;mso-fareast-font-family:Arial;mso-ansi-language:EN;}p.MsoCommentText, li.MsoCommentText, div.MsoCommentText{mso-style-noshow:yes;mso-style-priority:99;mso-style-link:"Comment Text Char";margin:0cm;margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:10.0pt;font-family:"Arial",sans-serif;mso-fareast-font-family:Arial;mso-ansi-language:EN;}span.MsoCommentReference{mso-style-noshow:yes;mso-style-priority:99;mso-ansi-font-size:8.0pt;mso-bidi-font-size:8.0pt;}span.CommentTextChar{mso-style-name:"Comment Text Char";mso-style-noshow:yes;mso-style-priority:99;mso-style-unhide:no;mso-style-locked:yes;mso-style-link:"Comment Text";mso-ansi-font-size:10.0pt;mso-bidi-font-size:10.0pt;}span.msoIns{mso-style-type:export-only;mso-style-name:"";text-decoration:underline;text-underline:single;color:teal;}span.msoDel{mso-style-type:export-only;mso-style-name:"";text-decoration:line-through;color:red;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:"Arial",sans-serif;mso-ascii-font-family:Arial;mso-fareast-font-family:Arial;mso-hansi-font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN;}.MsoPapDefault{mso-style-type:export-only;line-height:115%;}div.WordSection1{page:WordSection1;}@font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Times;panose-1:0 0 0 0 0 0 0 0 0 0;mso-font-alt:﷽﷽﷽﷽﷽﷽﷽﷽man;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:-536870145 1342185562 0 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0cm;margin-bottom:.0001pt;line-height:115%;mso-pagination:widow-orphan;font-size:11.0pt;font-family:"Arial",sans-serif;mso-fareast-font-family:Arial;mso-ansi-language:EN;}p.MsoCommentText, li.MsoCommentText, div.MsoCommentText{mso-style-noshow:yes;mso-style-priority:99;mso-style-link:"Comment Text Char";margin:0cm;margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:10.0pt;font-family:"Arial",sans-serif;mso-fareast-font-family:Arial;mso-ansi-language:EN;}span.MsoCommentReference{mso-style-noshow:yes;mso-style-priority:99;mso-ansi-font-size:8.0pt;mso-bidi-font-size:8.0pt;}span.CommentTextChar{mso-style-name:"Comment Text Char";mso-style-noshow:yes;mso-style-priority:99;mso-style-unhide:no;mso-style-locked:yes;mso-style-link:"Comment Text";mso-ansi-font-size:10.0pt;mso-bidi-font-size:10.0pt;}span.msoIns{mso-style-type:export-only;mso-style-name:"";text-decoration:underline;text-underline:single;color:teal;}span.msoDel{mso-style-type:export-only;mso-style-name:"";text-decoration:line-through;color:red;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:"Arial",sans-serif;mso-ascii-font-family:Arial;mso-fareast-font-family:Arial;mso-hansi-font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN;}.MsoPapDefault{mso-style-type:export-only;line-height:115%;}div.WordSection1{page:WordSection1;}

scholarly journals The Interaction of the State Museum Fund and Museums of the Tatar ASSR in the 1920s

2018 ◽  
Vol 15 (6) ◽  
pp. 754-763 ◽  
Author(s):  
Natalia V. Gerasimova
Keyword(s):  
Fine Arts ◽  
The State ◽  
Public And Private ◽  
Art Collections ◽  
Art Collection ◽  
State Museum ◽  
Scientific Principles ◽  
History Of ◽  
Private Museums ◽  
First Time

The article is devoted to one of the Soviet State’s policy directions at the first stage of its existence, aimed at the preservation of cultural va­lues and the formation of museum art collections. The poorly studied question about the features of this policy implementation is revealed on the example of the TASSR (Kazan Province — before May 1920), where in the 1920s a whole network of museums was created; almost in each of them, an art department was organized. The appeal to this topic is relevant in connection with the opening of a large number of public and private museums, which face similar challenges, as well as the active scientific activities of museums to study their own collections, in the framework of creation of the State Catalogue of the Museum Fund of the Russian Federation. For the first time, the article introduces into scientific circulation a number of sources, on the basis of which the main directions of this activity, as well as the museums’ art collections themselves, are analyzed. In the TASSR, the interaction with the State Museum Fund (SMF) was carried out by the Department for Museums and Protection of Monuments of Art, Anti­quities and Nature, employees of which (P.M. Dulsky and P.E. Kornilov) were engaged not only in organization of the artworks’ transferring to museums, but also in their selection. The article states that, thanks to the SMF, the Central Museum of the TASSR had the most complete and valuable art collection, and an interesting collection was formed in the Kozmodemyansky District Museum, which was part of the Kazan Province until 1920. This study shows that the SMF was an important and effective mechanism for the implementation of state policy in the field of culture: its activities contributed to the creation of provincial museums’ collections, based on scientific principles and aimed at presenting the history of fine arts development.

Encoded Perception

2021 ◽  
Vol 7 (1) ◽  
pp. 172-196
Author(s):  
Helena Shaskevich
Keyword(s):  
Computer Art ◽  
Scientific Instruments ◽  
Conceptual Frameworks ◽  
Early Computer ◽  
Asset Class

Despite her status as an unpaid “resident visitor” for most of her nearly two-decade tenure there, Lillian Schwartz created some of the most important works of early computer art at Bell Labs. This essay unravels the conceptual frameworks of “vision” as they manifest in Schwartz’s early computer films made between 1970 and 1972, with a specific emphasis on vision as “information” and “data.” It argues that these specific films in Schwartz’s oeuvre explored a newly emerging model of vision based on the rendering practices of computers and scientific instruments, while navigating the fraught question of the role of the embodied viewer. Resisting this rationalized order of vision, which would ultimately result in the emergence of information as both a commodity and an asset class, Schwartz’s films instead explore the contingencies of rendering information with the newly developing medium of the computer.

Art and archives

1978 ◽  
Vol 3 (4) ◽  
pp. 33-43 ◽  
Author(s):  
Irene Whalley ◽  
Clive Wainwright ◽  
Sarah Fox-Rtt
Keyword(s):  
Primary Source ◽  
Source Material ◽  
16Th Century ◽  
National Register ◽  
Siegfried Sassoon ◽  
The Past ◽  
History Of ◽  
General Kind ◽  
Victoria And Albert Museum ◽  
Active Policy

The Library of the Victoria and Albert Museum has always collected primary source material. This consists of artists’ letters, diaries, sitters’ books and various personal papers. Or it may be material of a more general kind: inventories, bills, unpublished articles, recipes for paints and varnishes and similar items of use to the Museum departments or to other readers. Occasionally in the past we have been offered material relating to a firm, a person, or a society, which consisted of a mixture of printed matter, photographs, original drawings, manuscript letters etc., which, when received in the Museum, would be divided among the relevant departments — the Library and the Department of Prints and Drawings in particular. The Library continues to acquire manuscript material of the kind mentioned above, and indeed in the last two years has pursued an active policy in this field. As a result we have acquired such varied items as the wardrobe accounts of the Empress Josephine for 1809 (2 large boxes of them), a 16th century herald’s sketchbook, an unpublished history of jade, and a letter from Sir William Nicholson to Siegfried Sassoon agreeing to illustrate ‘Memoirs of a fox-hunting man’. A list of the English accessions is published annually, and all acquisitions are notified to the National Register of Archives. Most of the items were acquired by purchase (e.g. from booksellers’ lists or auction sales), but there have also been some welcome donations.

Diverse practices: video art and libraries

2004 ◽  
Vol 29 (1) ◽  
pp. 35-41 ◽  
Author(s):  
Annamarie McKie ◽  
Jill Trumper ◽  
Nicholas Turner
Keyword(s):  
Video Art ◽  
Art Collections ◽  
Art And Design ◽  
The Many ◽  
Library Collections

This article looks at the many problems that art libraries experience in developing video art collections. It considers a range of issues, from why it is often difficult to acquire video art, to reasons why many of the respected art library collections do not actively collect such material. Most of the findings arise from a workshop called Diverse practices, which was held at Kent Institute of Art and Design in February 2003.

Sign in / Sign up

Export Citation Format

Share Document