scholarly journals Visual Arts and Digital Technologies

Author(s):  
Boyan Blazhev ◽  

With the advent and dissemination of digital technologies, devices and means in the middle of the twentieth century, dramatic changes occurred in all spheres of life. The data reporting environment is changing and the era of new media is approaching. Digital technologies and the global network have a fundamental impact on culture, traditions and art. In this context, in terms of visual art, digital technologies allow for the emergence of new artistic practices that take their place next to classical art activities. Leading the way is the idea that digital technology is not just a tool, but rather a creation process, thus focusing on the concept inspired by the digital context rather than on the means expressed. In modernity, visual art and scientific achievements live in harmony. Keywords: Digital Art; Art; Virtual Reality (VR); Technological Innovations; Net Art; Artificial Intelligence (AI); New Media Art

This chapter examines many types of new media art that are being created with computing. Displaying art becomes a tool for exchanging information and ideas that also creates channels for the viewers’ input through digital art interactive events. Biology inspired computing applied for artistic tasks has often a mutual relationship with scientific research involving evolutionary computing. Net art, along with other electronic art media, may be seen closely related to the semantic networks and social networking media. Many times these media provide computational solutions for entertainment.


Author(s):  
Annick Bureaud

The Minitel (French videotex system) is often considered as a “pre-Internet” platform and the art that was created with it as belonging to “network art” and/or “collaborative” practices on a “social media” avant la lettre. In which respect is this true? This article provides an initial map and a typology of minitel-based creative practice by identifying works and documenting its context as it happened in France, compared to other countries. With detailed descriptions of selected works and of the ART ACCES online magazine-gallery project, it proposes an analysis that will be compared to and confront net art, new media art, and current trends in e-publishing.


Leonardo ◽  
2002 ◽  
Vol 35 (5) ◽  
pp. 471-484 ◽  
Author(s):  
Christiane Paul

This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.


Leonardo ◽  
2017 ◽  
Vol 50 (2) ◽  
pp. 170-176
Author(s):  
Sjoukje van der Meulen

Despite the relevance of new media art for the critical understanding of the information and network societies today, it is largely ignored as a socially engaged practice—certainly compared to other forms of socially engaged artistic practices in the international field of contemporary art. This article outlines the reasons for this relative neglect and specifies different kinds of new media art that qualify for the category of socially engaged art beyond leftist politics and ideologies transposed to the realm of art. Proposing and mobilizing a “media-reflexive” art theory, which emerged from the author’s doctoral dissertation, this claim is substantiated by the analysis of three exemplary digital art projects by Joseph Nechvatal, George Legrady and Blast Theory, respectively.


Author(s):  
Pragati Garg

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।


2019 ◽  
Vol 277 ◽  
pp. 02023
Author(s):  
Lu Geng ◽  
Lei Cao

In order to be accepted by the extensive public, the traditional culture requires digital media interactive methods featuring “diversified sensual experiences” and “interactivity” to adapt better to the development tendency of cultural communication under the background of new media. The design practice, with Tai Chi culture as the content and using motion data captured by infrared sensor Kinect combined with digital art creation platform Processing as the technical measures to implement interactive imaging. The work will give interactive experience to the experiencer and promote the spread of Tai Chi culture.


Leonardo ◽  
2002 ◽  
Vol 35 (5) ◽  
pp. 499-508 ◽  
Author(s):  
Gregor Muir

Given the task at hand, “to select new media works that have changed or are impacting the course of new media art and music,” the author, along with his colleagues, set out to identify the fullness of the digital spectrum. The article explains his selections of artwork by consciously establishing a past, present, and future media collection. He begins with a 1965 piece from Nam June Paik and ends with JODI.org, acknowledging the large jump made from past to present media. Concluding the article with a look at the history of digital art, the author raises comparisons and dilemmas that allow readers to question and reflect on the status of new media art.


Media-N ◽  
2021 ◽  
Vol 17 (1) ◽  
Author(s):  
Xtine Burrough ◽  
Owen Gallagher ◽  
Eduardo Navas

This special issue of Media-N on contemporary approaches to remix was inspired by Jorge Luis Borges’s short story, “The Garden of Forking Paths,” a recurring point of reference in the development of media culture. Prior to terms such as new media, digital art, media art, and remix, Borges’s narrative exploration of bifurcation as a means of reflecting on the possibility of multiple simultaneous realities with no clear beginning or end has offered a literary and philosophical model for creative uses of emerging technology throughout the twentieth century. The essays included in this special issue provide a glimpse into the relation of Borgesian multiplicity and remix as an interdisciplinary methodology. 


2020 ◽  
Vol 13 (2) ◽  
pp. 257-269
Author(s):  
Aynur Safina ◽  
Liliana Gaynullina ◽  
Ekaterina Cherepanova

The development of modern informational-communication technologies has led to the occurrence of the new unique sociocultural phenomenon – a network culture, with irony as the dominating rhetoric. In the space of network culture, under digital technologies, the forms, types, and functions of art, and creativity in general, change. The paper states that communication becomes the main function of art, while a work of art more and more becomes an object of communication. The authors propose to broaden the volume of creativity conception, going beyond the classical interpretation towards a broader understanding of this phenomenon, namely, creativity as bricolage. The methodological basis of the bricolage model of creativity, relevant for the new media art, is the concept of “bricolage” developed by Claude Lévi-Strauss.


Leonardo ◽  
2012 ◽  
Vol 45 (1) ◽  
pp. 57-63
Author(s):  
Etan J. Ilfeld

This paper aims to highlight the interplay of technology and cybernetics within conceptual art. Just as Lucy Lippard has illustrated the influence of information theory within 1960s conceptual art, this paper traces the technological discourses within conceptual art through to contemporary digital art—specifically, establishing a correlation between Katherine Hayles's mapping of first-, second- and third-wave cybernetic narratives and, respectively, 1960s–1970s conceptual art, 1970s–1990s video art and new media art. Technology is shown to have a major influence on conceptual art, but one often based on historical, social and cybernetic narratives. This paper echoes Krzystof Ziarek's call for a Heideggerian poiesis and Adorno/Blanchotnian “nonpower” within conceptual art and advocates Ziarek's notion of “powerfree” artistic practices within new media and transgenic art.


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