scholarly journals El proceso de creación del Arte digital = The Creation Process in Digital Art

2019 ◽  
pp. 16 ◽  
Author(s):  
Cynthia Patricia Villagomez-Oviedo
Keyword(s):  
Digital Art ◽  
Original Form ◽  
New Approach ◽  
Creation Process ◽  
Art And Technology ◽  
The Sixties ◽  
New Form ◽  
Points Of View ◽  
The Creation ◽  
Artistic Works

ResumenEste artículo presenta un análisis de los procesos de creación de una selección de artistas digitales —o artistas que hacen uso de la tecnología con obras digitales- mexicanos, desde la óptica de las fases del proceso de creación, a saber, preparación, incubación/intuición, evaluación, elaboración y comunicación. Para tal fin, se realizaron una serie de entrevistas a los artistas de la muestra, donde se indagó sobre sus procesos de producción, dando como resultado una visión comparativa de dichos procesos, así como el análisis derivado de los mismos. Lo anterior con el propósito de, por una parte, comprender los procesos, así comoel Arte digital, que, si bien no es un ámbito nuevo, comúnmente se tiene poca familiaridad con el mismo. El estudio de los procesos de producción a través de las fases del proceso de creación aquí presentadas, ofrecen una aproximación distinta al Arte digital, de tal manera que, a través del mismo se busca contribuir a ampliar los límites del conocimiento en tornoal Arte digital y sus artistas, así como arrojar luz a los procesos de creación artística que usualmente se llevan a cabo en el ámbito de lo privado.AbstractThis article shows an analysis of processes of creation of several digital artists and artists who use various forms of art and technology in Mexico. There are different points of view that we can adopt to do this, but we are going to use the five stages of creation processes (preparation, incubation-intuition, evaluation, elaboration and communication),because brought a new approach to this research. For that purpose, special interviews have been made focus on the processes of production of some of the artistic processes, as a consequence, it was possible to compare the results to categorize and perform the analysis of them, aiming the comprehension of the processes and the artistic works of the DigitalArt realm. We know the Digital Art begin around the sixties, because of that it is not a new form of art, but still is an original form of art. That is why this research explores Digital Art through the processes of creation and production as a way to contribute to the knowledge of Digital Art, their artists and the processes that commonly take place privately.

The Destinies of Senses

2021 ◽  
Vol 12 (1) ◽  
pp. 46-60
Author(s):  
Selma Eduarda Pereira ◽  
Alexandra Nogueira
Keyword(s):  
Digital Media ◽  
Contemporary Art ◽  
Print Media ◽  
The State ◽  
Digital Art ◽  
Preparation Process ◽  
Creation Process ◽  
Cultural Events ◽  
The Creation

During the state of global emergency of the COVID-19 pandemic, online cultural events have multiplied and gained space in our lives. However, this relationship between contemporary art and digital media has been developing for decades. In this paper, the authors cover the curatorial and preparation process for the virtual pavilion The Destinies of Senses that was part of the 4th edition of the digital art biennial The Wrong, which took place from November 2019 to March 2020, bringing to discussion the curation of online exhibitions, aesthetics post-digital, and the creation process of these artists. The authors approach in more detail one of the projects that integrated the exhibition and that combines fashion production, print media, and digital art.

scholarly journals Instanciando mecanismos de a/r/tografia no processo de criação em arte digital/computacional

2012 ◽  
pp. 138-145
Author(s):  
Adérito Fernandes Marcos Marcos
Keyword(s):  
Research Process ◽  
Digital Art ◽  
Computer Art ◽  
Creation Process ◽  
Creative Person ◽  
The Creation

In this essay we bring into discussion how a/r/tography mechanisms or approach could be instantiated in the creation process cycle in digital art or computer art in order to more effectively identify practices of borderland experiencing, reshaping, rethinking, redoing and remaking that transforms the creation process into a research process, where the creative person enhances continuously the meaning of his/her artwork.

scholarly journals THE COMBINATION OF COLORS "IN THE CONTEXT OF DIGITAL ART"

2014 ◽  
Vol 2 (3SE) ◽  
pp. 1-12
Author(s):  
Pragati Garg
Keyword(s):  
New Media ◽  
18Th Century ◽  
Digital Art ◽  
Original Form ◽  
Human Beings ◽  
New Media Art ◽  
Multimedia Art ◽  
Technological Developments ◽  
The Creation ◽  
The Universe

While creating the creation, God filled the beauty of the universe with unlimited beauty. It also contains beauty as well as spirituality. Art has been expressing the sentiments of human beings from the creation of the universe itself. Man has been expressing his feelings since time immemorial. As human senses developed, art also matured. All the forms provided by nature and the bizarre emotions and rasas evoked in our minds by the artists through different shelters or bases are embodied with the help of various Karan-implements. Epoch changes with inexorable change, and along with it, traditions, styles, language, forms all change, but the tangible form of soul and heart never changes. Just as colors were valued by the creation of life, colors have remained their dominion ever since. He changed but his main source did not change. The artist has made the plan of this original form the subject, and today he has set the paintbrush of the expressions expressing emotions on the threshold of renewal, which is presented to us in the form of digital art. Prior to the 18th century, there were scientific inventions that changed the nature of art itself, a variety of technological developments that gave the traditional art of modern art a renewal. What is today known as digital art, it is known by many names such as computer art, multimedia art and new media art, under which the colors used in traditional form are presented in a new form by digital technology. Do, which greatly affects the viewer. ईश्वर ने सृष्टि की संरचना करते समय सृष्टि के कण-कण में असीमित सौन्दर्य भर दिया। इसमें सौन्दर्य के साथ-साथ प्राणतत्व भी निहित है। कला मनुष्य के भावों को सृष्टि के सृजन से ही व्यक्त करती आयी है। आदिकाल से मनुष्य अपनी भावनाओं की अभिव्यक्ति करता आया है। जैसे-जैसे मानवीय संवेदना विकसित होती गयी, कला भी परिपक्व होती गई। प्रकृति द्वारा प्रदत्त सारे रूप और उन रूपों द्वारा हमारे मन में उद्बुद्ध विचित्र भाव एवम् रसों का कलाकार भिन्न-भिन्न आश्रयों या आधारों के माध्यम से विभिन्न करण-उपकरणों की सहायता से मूर्त करते हैं। निष्ठुर परिवर्तन के साथ युग बदलता है और उसके साथ-साथ परम्परायें, शैलियाँ, भाषा, रूप सभी परिवर्तित हो जाते हैं परन्तु आत्मा और हृदय का मूर्त स्वरूप कभी नहीं बदलता। जिस प्रकार रंगों का महत्व जीवन के सृजन से हुआ, तब से रंग अपना प्रभुत्व बनाये हुये हैं। उसका परिवर्तन तो हुआ परन्तु उसका मुख्य स्त्रोत नहीं बदला। कलाकार इसी मूल रूप की योजना को विषय बनाकर आज वह भावों को व्यक्त करने वाले तूलिका घातों को नवीनीकरण की ऐसा दहलीज पर खड़ा कर दिया है, जो डिजिटल आर्ट के रूप में हमारे समक्ष प्रस्तुत है। 18वीं शताब्दी से पहले वैज्ञानिकी अविष्कार हुये जिन्होंनें कला के स्वरूप को ही बदल दिया, कई प्रकार के तकनीकि विकास किये जिन्होंने परम्परागत चलते आ रहे कला को एक नवीनीकरण का स्वरूप दिया। जिसे आज डिजिटल आर्ट के नाम से जाना जाता है, इसे अनेक नामों से जाना जाता है जैसे- कम्प्यूटर आर्ट, मल्टीमीडिया आर्ट व न्यू मीडिया आर्ट कहा जाता है, जिसके अन्तर्गत हम परम्परागत रूप में प्रयुक्त रंगों को डिजिटल तकनीक द्वारा एक नये रूप में प्रस्तुत करते हैं, जो दर्शक को बहुत प्रभावित करता है।

The Creation Process in Digital Art

2009 ◽  
pp. 601-615 ◽  
Author(s):  
Adérito Fernandes Marcos ◽  
Pedro Sérgio Branco ◽  
Nelson Troca Zagalo
Keyword(s):  
Digital Art ◽  
Creation Process ◽  
The Creation

Digital Art: The ’60s to the ’80s, from the Point of View of an Observactor

Leonardo ◽  
2018 ◽  
Vol 51 (2) ◽  
pp. 143-144
Author(s):  
Edmond Couchot
Keyword(s):  
Visual Arts ◽  
Point Of View ◽  
Digital Art ◽  
Aesthetic Perception ◽  
Art And Technology ◽  
Short Biography ◽  
The Creation ◽  
University Of Paris ◽  
The Spectator ◽  
The University

In this short biography, Edmond Couchot tells how, after having attempted a plastic-art synthesis between gestural painting and lumino-kineticism, he became interested in cybernetics and visual arts and the participation of the spectator in aesthetic perception. Then we learn how, in the early 1980s, he took part in the creation of a new degree course in art and technology of the image at the University of Paris-VIII.

How To Write A Narration

2019 ◽  
Vol 7 (4) ◽  
pp. 43-49
Author(s):  
Katyaa Nakova-Tahchieva
Keyword(s):  
Research Paper ◽  
Fifth Grade ◽  
Artistic Creation ◽  
Creation Process ◽  
Literature Education ◽  
The Creation ◽  
Education Process

The present work is part of a research paper for which I extend my heartfelt thanks to Assoc. Prof. Dr. Valko Kanev. It examines some specifics of the artistic creation process that lead to the creation of one of the types of written student texts - the narration. Its variations - "narration by imagination" and "narration by set supports" are regulated in the new fifth grade curriculum. The requirements for writing a narration and the exemplary thematic curriculum of optional literature classes in the 7-tgrade have proven to be applicable in the literature education process.

Assembling Auras: Towards a Methodology for the Preservation and Study of Video Games as Cultural Heritage Artefacts

2021 ◽  
pp. 155541202110203
Author(s):  
Dany Guay-Bélanger
Keyword(s):  
Video Games ◽  
Cultural Heritage ◽  
Future Study ◽  
Magnetic Tape ◽  
Floppy Disk ◽  
Digital Art ◽  
Original Version ◽  
New Approach

Video games, while a digital art, live on physical media. Whether cartridge, magnetic tape or floppy disk, they degrade. Without care and study, they disappear and cannot be played again. While it might be possible to preserve play using emulation or video captures, scholars need to consider every option at their disposal to preserve video games for future study. This includes securing original versions of games and ephemera, recording play, interviewing game creators, and players, and much more. This article develops a new approach to conceptualise video games as material and cultural heritage, and proposes a methodology for their study, especially those for which there is no original version left.

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