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.

scholarly journals Inovasi alat musik konvensional berbahan dasar bambu oleh Indonesian Bamboo Community

2018 ◽  
Vol 13 (1) ◽  
pp. 1-10
Author(s):  
Mirna Nurmala
Keyword(s):  
Qualitative Research ◽  
Research Methods ◽  
Creative Process ◽  
Musical Instrument ◽  
Qualitative Research Methods ◽  
Raw Material ◽  
Selling Price ◽  
Important Thing ◽  
Material Cost

Adanya asumsi bahwa bambu merupakan material dasar yang murah dan tidak memiliki harga jual,memicu kegelisahan beberapa kalangan untuk berinovasi menggunakan bambu sebagai bahan dasar. Salah satunya adalah Indonesian Bamboo Community yang dipimpin oleh Adang Muhidin yang mencoba berinovasi dengan membuat alat musik konvensional berbahan dasar bambu. Tulisan ini akan membahas proseskreatif yang dilakukan oleh sebuah komunitas bambu dengan metode penelitian kualitatif, yaitu penelitian yang menekankan pada kualitas atau hal terpenting dari sifat suatu benda, yang didalamnya tidak hanyameliputi pertunjukan musik saja tapi bagaimana membuat alat musik yang berbahan dasar bambu. ABSTRACTThe assumption that bamboo is a material cost basis and does not have a selling price, triggers anxiety in some quarters to innovate using bamboo as raw material. One of them is the Indonesian Bamboo Community led by Adang Muhidin who tried to innovate by creating a conventional musical instrument made from bamboo. This paper will discuss the creative process undertaken by a community of bamboo with qualitative research methods, the research emphasizes on the quality or the most important thing of the nature of an object, in which not only includes music performances alone but how to make a musical instrument made from bamboo.

Meta-Remediation as a Mechanism to Address Crowd Decision-Making in the Context of Media Art

2019 ◽  
Vol 10 (1) ◽  
pp. 43-55
Author(s):  
Jose Alberto Raposo Pinheiro ◽  
Mirian Tavares
Keyword(s):  
Public Space ◽  
Short Story ◽  
Creative Process ◽  
Interaction Model ◽  
Digital Art ◽  
Public Event ◽  
The Public ◽  
Art Installation ◽  
Visual Concepts ◽  
Digital Artifact

uTurn is a digital art installation that allows interaction inside a cinema-like environment or a similar public space — an exhibition system in the context of an audience, retrieving an elected media from the choices made by the majority of the public. The software in its core manages the selection — a meta-remediation that elects a media block, in the form of short-story movies (Vidbits) to be watched by a crowd. The interaction model assumes the need to find a preference in the viewing room in order to identify and choose the next Vidbit. The system allows navigation through media blocks in environments like a cinema room, a summer festival, or a public event. It can be configured to support visual concepts, or to integrate a narrative system in which other types of structures in the story demand that the content follows a segmentation of media. uTurn was exhibited during the 5th Artech International Conference, in 2015. The article addresses the creative process towards the production of the digital artifact using Apple's Quartz Composer.

The Philosophies of Software

2011 ◽  
pp. 326-342
Author(s):  
Lindsay Grace
Keyword(s):  
Digital Art ◽  
Artistic Expression ◽  
Critical Perspective ◽  
Creative Practice ◽  
The World ◽  
Computer Based ◽  
Art Production ◽  
The Way

Software is philosophical. Software is designed by people who have been influenced by a specific understanding of the way objects, people and systems work. These concepts are then transferred to the user, who manipulates that software within the parameters set by the software designer. The use of these rules by the designer reinforces an understanding of the world that is supported by the software they use. The designer then produces works that mimic these same philosophies instead of departing from them. The three axes of these philosophies are analogy, reductivism, and transferred agency. The effects on computer-based artistic expression, the training in digital art production, and the critique of art are evaluated in this chapter. Tensions between the dominant scientific approaches and the dominant artistic approaches are also defined as destructive and constructive practice respectively. The conclusion is a new critical perspective through which one may evaluate computer integrated creative practice and inspire fresh creative composition.

Continuity and Change in Yoruba Pottery

1996 ◽  
Vol 59 (2) ◽  
pp. 312-322 ◽  
Author(s):  
P. Allsworth-Jones
Keyword(s):  
Cultural Heritage ◽  
Religious Life ◽  
Ford Foundation ◽  
Raw Material ◽  
Continuity And Change ◽  
Art Objects ◽  
The People ◽  
Different Parts

Mrs. A.K. Fatunsin's Yoruba pottery (Lagos, 1992) is the outcome of a project funded by the Ford Foundation (grant no. 875–1066) as part of its continuing programme ‘to preserve and interpret diverse aspects of West Africa's cultural heritage’. The intention of the project as suggested to them in 1985 by this author was that it should ‘go beyond the mere collection of artefacts’. Emphasis was to be ‘placed on techniques of pottery manufacture, sources and types of raw material, methods of forming the pots, decoration and firing, as well as forms and functions including the designated names for the pots in the different parts of the Yoruba speaking area.’ Also investigated would be the uses to which the pots were put; and the organization, beliefs and customs of the potters themselves. The monograph resulting from the work would be designed to show pots ‘not just as art objects but as basic components of the entire economic, social, and religious life of the people’.

scholarly journals Intellectual property in the digital space

2021 ◽  
pp. 82-89
Author(s):  
O. IZBASH
Keyword(s):  
Intellectual Property ◽  
Intellectual Property Rights ◽  
Computer Games ◽  
Digital Art ◽  
Property Management ◽  
Digital Space ◽  
Art Objects ◽  
Intellectual Property Management ◽  
Real Objects ◽  
The Right

The article examines the modern view of art in the digital space and the regulation of intellectual property in connection with this phenomenon. The author reveals the concept of blockchain and non-fungible token, their development and impact on the rights of creators. There are many challenges for digital artists today. One of them is that digital art objects can be easily copied as many times as you want. Yes, many will say that you can just save a picture and such saved copies would not differ from the original. But there is one nuance, or rather the opportunity provided by NFT – it’s the right to own the original version of the work. It is like having an original painting on display at the Louvre, and other reproductions and copies outside it will only promote and increase the value of this work, as it will become more recognizable. Therefore, NFT allows you to capture your intellectual property rights, which are confirmed in the blockchain. The use of NFT can be a new tool in the field of intellectual property management, creating new opportunities for the market and its participants, making it more convenient, because transactions with tokens are cheap, simple and faster than transactions with real objects to which they are tied. It is worth noting that the hype surrounding the use of NFT does not revolutionize art, computer games, or intellectual property itself, but it does offer significant new opportunities that deserve attention.

scholarly journals The Poetics of Unism in Music

2015 ◽  
Vol 12 (1) ◽  
pp. 127-136
Author(s):  
Krzysztof Szwajgier
Keyword(s):  
Creative Process ◽  
The Other ◽  
Unity In Diversity ◽  
Artistic Work

Abstract Zygmunt Krauze is the founder of a new current in art: unistic (unitary) music. He developed this concept in the first period of his artistic work, inspired by the unistic paintings of Władysław Strzemiński. Traces of this style are also detectable in Krauze’s later post-unistic works. Unistic music is characterised by a paradoxical unity in diversity. Most of the composer’s statements collected in this paper refer to specific features of unism in music. Other, more general comments concern the essence of music, the composer’s personal stance, the creative process, the autonomy of the composer, the audience and the performers, etc. Two longer texts by Zygmunt Krauze have been quoted in full. One can be considered as a unistic manifesto, while the other is a kind of personal credo.

scholarly journals Computer-Based Tools Unmask Critical Mineral Nutrient Interactions in Hoagland Solution for Healthy Kiwiberry Plant Acclimatization

2021 ◽  
Vol 12 ◽  
Author(s):  
Sara Maleki ◽  
Bahram Maleki Zanjani ◽  
Bahram Baghban Kohnehrouz ◽  
Mariana Landin ◽  
Pedro Pablo Gallego
Keyword(s):  
Fuzzy Logic ◽  
Design Space ◽  
Growth Parameters ◽  
Mineral Nutrient ◽  
Ex Vitro ◽  
Positive Role ◽  
Hoagland Solution ◽  
Computer Based ◽  
Plant Acclimatization ◽  
Critical Mineral

The aim of this study was to better understand the response of ex vitro acclimatized plants grown to a set of mineral nutrient combinations based on Hoagland solution. To reach that, two computer-based tools were used: the design of experiments (DOE) and a hybrid artificial intelligence technology that combines artificial neural networks with fuzzy logic. DOE was employed to create a five-dimensional IV-design space by categorizing all macroelements and one microelement (copper) of Hoagland mineral solution, reducing the experimental design space from 243 (35) to 19 treatments. Typical growth parameters included hardening efficiency (Hard), newly formed shoot length (SL), total leaf number (TLN), leaf chlorophyll content (LCC), and leaf area (LA). Moreover, three physiological disorders, namely, leaf necrosis (LN), leaf spot (LS), and curled leaf (CL), were evaluated for each treatment (mineral formulation). All the growth parameters plus LN were successfully modeled using neuro-fuzzy logic with a high train set R2 between experimental and predicted values (72.67 < R2 < 98.79). The model deciphered new insights using different sets of “IF–THEN” rules, pinpointing the positive role of Mg2+ and Ca2+ to improve Hard, SL, TLN, and LA and alleviate LN but with opposite influences on LCC. On the contrary, TLN and LCC were negatively affected by the addition of NO3– into the media, while NH4+ in complex interaction with Cu2+ or Mg2+ positively enhanced SL, TLN, LCC, and LA. In our opinion, the approach and results achieved in this work are extremely fruitful to understand the effect of Hoagland mineral nutrients on the healthy growth of ex vitro acclimatized plants, through identifying key factors, which favor growth and limit physiological abnormalities.

Game Mods

2011 ◽  
pp. 141-149
Author(s):  
Elizabeth Fanning
Keyword(s):  
Learning Environment ◽  
Creative Process ◽  
Computer Games ◽  
Production Quality ◽  
Computer Based ◽  
Game Developers

A game mod describes a modification within an existing commercial, computer-based game that has been created by a user. By game modding, a user can participate in the creative process by taking the setting of their favorite game and customizing it for entertainment purposes or to convey information. For years, commercial computer-based game developers committed considerable resources towards preventing users from “hacking” into or “hijacking” their games. Now several computer-based game developers provide editors with their products to encourage users to create content, and to allow educators, for instance, to take advantage of the benefits and production quality of commercial computer games to create customized instruction. This chapter focuses on mainstream, accessible games with straightforward modding tools that can be easily integrated into a learning environment.

Factors of Creativity

1990 ◽  
Author(s):  
Steven Kim
Keyword(s):  
Creative Process ◽  
Visual Image ◽  
Essential Elements ◽  
Problem Solver ◽  
Functional Requirements ◽  
The Arts ◽  
Number Of Factors ◽  
Computer Based ◽  
Color Screens ◽  
Human Problem

The dictionary defines a factor as “something that actively contributes to the production of a result.” A number of factors may be attributed to the creative process and its final product. These factors are purpose, diversity, relationships, imagery, and externalization. The ingredients of creativity seem to be the same for diverse domains, from the arts to the sciences and social studies. The factors of creativity are depicted in Figure 4.1. These parameters refer to the purpose of the project, plus four others identified by diversity, relationships, imagery, and externalization. The second and third factors define the structure of the problem and its solution, while the last two relate to representation issues for generating the solution and expressing it in some form. The creative factors are listed in Table 4.1, along with their defining characteristics and prescriptive implications. The operational implications are described for both the human problem solver, as well as for the computer system that might be developed to assist in this task. For example, imagery relates to the development of ideas through sensory mechanisms, whether in actuality or in conception. The prescriptive implication is to generate a series of images in various formats, whether pictorial, auditory, or tactile. Of these, the most powerful vehicle is the visual image which can simultaneously represent numerous objects and their relationships. The operational implication for a computer-based system is a rich store of icons or pictorial images that may be depicted on color screens using versatile graphic techniques. The problem to be resolved defines the purpose of the creative process. The factor of purpose involves the distillation of a problem into its essential elements. This involves the identification of critical attributes and the elimination of extraneous features. For millennia people had yearned to fly. The existence of birds was proof that flight was possible. Man’s straightforward approach to achieving flight was to imitate aviary shapes and motions, especially wings and their flapping. But birds have functional requirements other than airborne motion, such as feeding, fleeing, and reproduction. It was not until the peripheral activities such as wing-flapping were ignored, that man could design a machine allowing him to attain active flight.

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