scholarly journals Surveillance en la Frontera: the Subversive Installations of Mexican Digital Artists Raphael Lozano-Hemmer and Alfredo Salomon

2019 ◽  
Vol 11 (3) ◽  
Author(s):  
Reynaldo Thompson ◽  
Keyword(s):  
Digital Artists

Remaking Tank Man, in China

2017 ◽  
Vol 16 (2) ◽  
pp. 127-166 ◽  
Author(s):  
Margaret Hillenbrand
Keyword(s):  
Political Cartoons ◽  
Iconic Status ◽  
Digital Artists

Tank Man, the image of the lone protestor who faced down the tanks near Tian’anmen Square in 1989, leads a vibrant afterlife in political cartoons, memes, and YouTube remixes. In an era when staying memorable increasingly means being searchable online, these digital remakes have helped to keep his image fresh – outside China anyway. In China itself, though, Tank Man is a famously verboten image, mostly policed out of online sight. The digital artists who have repurposed his image are typically so harried by the censors that their work cannot hope to endow Tank Man with mass viral visibility, let alone the iconic status he possesses abroad. But precisely because of their fugitive character – which produces audiences who are alert, amused, and on the qui vive – these repurposings ensure that Tank Man remains the grit in the clam of public secrecy about 1989.

The Computer Medium in Digital Art's Creative Process

2011 ◽  
pp. 1-25 ◽  
Author(s):  
Adérito Fernandes Marcos ◽  
Pedro Branco ◽  
João Álvaro Carvalho
Keyword(s):  
Information Content ◽  
Creative Process ◽  
Design Space ◽  
Digital Art ◽  
Raw Material ◽  
Art Objects ◽  
State Of Mind ◽  
Computer Based ◽  
Artistic Work ◽  
Digital Artists

Art objects might be described as symbolic objects that aim at stimulating emotions. They reach us through our senses (visual, auditory, tactile, or other). They are displayed by means of physical material (stone, paper, wood, etc.) and combine some patterns to produce an aesthetic composition. They convey some message, normally to suggest some state of mind or to induce an emotion and the consequent feeling on the side of the viewer. Digital art differs from conventional art pieces by the use of computers and computer-based artifacts that manipulate digitally coded information, inheriting the almost unlimited possibilities in interaction, virtualization and manipulation of information the computer medium offers. In this chapter the authors propose to analyze and discuss the concepts and definitions behind digital art, emphasizing how the computer medium is itself the tool and the raw material in its creation, especially if we stress the fact that the conception and design of artistic information content is at the heart of any artistic work. Furthermore the authors present a framework for digital art creation that consists of a common design space where digital artists can smoothly progress from the concept until the final artifact while exploring the computer medium to its maximum potential.

Going Underground

2018 ◽  
Author(s):  
Kenneth B. McAlpine
Keyword(s):  
Real Time ◽  
Online Community ◽  
Computer Software ◽  
Software Protection ◽  
Computer Hacking ◽  
Protection Systems ◽  
Natural Home ◽  
Highly Skilled ◽  
Over Time ◽  
Digital Artists

This chapter charts the birth and growth of the demoscene, an online community of digital artists and musicians who create and share real-time procedural artworks. Part of the digital underground, the ethos was, and remains, one of pushing systems to their limits and so became a natural home for chiptune. The chapter begins by exploring the roots of the demoscene in the computer hacking scene of 1970s California, a community who believed strongly that computer software should be free. As software protection systems were introduced to prevent unauthorized copying, highly skilled ‘crackers’ removed them, highlighting their achievements with elaborate audiovisual digital graffiti. Over time, competition to create the most extravagant artwork and music became an end in itself, creating the demoscene. Today, this vibrant community thrives and has become bigger and slicker than ever, although, as some interviewees suggest, in so doing it may have lost some of its countercultural charm.

scholarly journals COREL PAINTER: FOR THE WHOLE SKETCHING AND COLORING

2014 ◽  
Vol 2 (3SE) ◽  
pp. 1-4
Author(s):  
Manorama Chouhan ◽  
Sonali Gupta
Keyword(s):  
Real Time ◽  
Digital Art ◽  
Textured Surfaces ◽  
Current Version ◽  
Traditional Media ◽  
Media Types ◽  
Visual Characteristics ◽  
Traditional Artists ◽  
And Behavior ◽  
Digital Artists

Corel Painter is a raster-based digital art application created to simulate as accurately as possible the appearance and behavior of traditional media associated with drawing, painting, and printmaking. It is intended to be used in real-time by professional digital artists as a functional creative tool. The current version is Painter X3, released on July 2013.Corel Painter emulates the visual characteristics of traditional media, such as oil paint, pastel sticks, air brush, charcoal, felt pens, and other traditional artists' materials on various textured surfaces. Many of these emulated media types work with the advanced features of Wacom tablets. For instance, the airbrush tool in Painter responds to pressure as well as tilt, velocity and rotation. Corel History:

Data visualization as creative art practice

2018 ◽  
Vol 17 (3) ◽  
pp. 299-312 ◽  
Author(s):  
Qi Li
Keyword(s):  
Big Data ◽  
Data Visualization ◽  
Information Visualization ◽  
Digital Art ◽  
Art Practice ◽  
Creative Potential ◽  
Creative Practice ◽  
Creative Art ◽  
Digital Artists

This article begins by tracing the evolution of data visualization from the fields of aesthetics to areas of creative practice, arguing that the emergence of big data presents creative potential for digital artists. Whereas conventional information visualization emphasizes the effective understanding of data, aesthetics considers the possibility that visualization can enhance the experience of data and support the acquisition of knowledge. In expressing an artistic intent or form, data-based creative practices synthesize and build upon techniques in communications and aesthetics. The article provides a review of recent digital art projects involving big data and suggests further directions for creative practice in an era of data proliferation.

scholarly journals Divine Violence: The Ethics and Aesthetics of the Goddess-woman in the Abused Goddess Ad Campaign

2019 ◽  
Vol 8 (3) ◽  
pp. 340-360
Author(s):  
Nkoyo Edoho-Eket
Keyword(s):  
United States ◽  
Social Media ◽  
Domestic Violence ◽  
The United States ◽  
Divine Power ◽  
Divine Violence ◽  
Secular Humanist ◽  
Digital Artists

In the fall of 2013, an ad campaign from the Mumbai-based agency Taproot exploded in popularity on social media and was featured on a variety of news sites, particularly in India and the United States. The campaign, known as the Abused Goddess ads, depicted an iteration of the Goddess most accurately characterized as a Goddess-woman, a divine-human hybrid figure possessing both the divine power of shakti and the vulnerability of human women. Stylized in the “canonical” images of the Goddesses Lakshmi, Saraswati, and Durga, the Goddess-women were shown as bruised victims of domestic violence. The Abused Goddess ads precipitated and codified the contemporary depictions of the Goddess-woman whose later iterations appear in the work of numerous digital artists. In particular, the ads exemplify an aesthetic that harnesses the power of shame and the mingling of gazes to further a secular-humanist ethic at the expense of devotional experience.

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