Queerness, Race, and Digital Art

2022 ◽  
Keyword(s):  
Digital Art

Remnants of Forgotten States and Resurrection of Suppressed Possibilities

2013 ◽  
Author(s):  
Udi Edelman ◽  
Eyal Danon ◽  
Ran Kasmy-Ilan
Keyword(s):  
Digital Art ◽  
Research Project ◽  
Zionist Movement

A curatorial essay on the research project and exhibition "Where to?", held at the Israeli Center for Digital Art in Holon between April and June 2012. The exhibition set out to reexamine forgotten ideological currents and modes of activity within the framework of the modern Jewish revolution in general, and the Zionist movement in particular. This attempt led to an engagement with these lost possibilities, and their problems, within contemporary Jewish-Israeli existence.

Construction of Visual Features of Indonesian Digital Poetry

2017 ◽  
Vol 3 (5) ◽  
pp. 1
Author(s):  
Johan Mahyudi ◽  
Djoko Saryono ◽  
Wahyudi Siswanto ◽  
Yuni Pratiwi
Keyword(s):  
Computer Technology ◽  
Visual Art ◽  
Feature Space ◽  
Digital Art ◽  
Visual Features ◽  
Technology Application ◽  
Digital Poetry ◽  
Textual Space ◽  
Neutral Space ◽  
Short Time

In short time, Indonesian digital poetry attracts its audience through a series of visualization features of the digital art. This research uses a short segment analysis on Indonesian videography digital poetry to demonstrate the existence of visual conglomeration practices through the creation of objects, features, a feature of space, measuring distance in feature space, and dimension reduction. These five approaches are proposed by Manovich (2014) in ​​grouping millions of visual artworks based on simple criteria. Of the three common objects are found, Indonesian animators, prefer individuals and texts as the main impression. The movement features are found in cinematic poetry and its rely depend on kinetic texts. Meanwhile, non-movement features can be found in the form of human imitation or part of them, portraits, silhouettes, and comics. Indonesian digital poetry of space features in form of textual space is prioritizing on the kinetics text, the space of time is prioritizing the presentation of objects association of words are spoken, the neutral space is prioritizing the use of computer technology application. The grouping of visual art composition is based on two criteria: the technique of creating and artistic impressions. The dimensional reducing is prominently practiced by Afrizal Malna.

Interactive digital art for individuals with intellectual disabilities

2021 ◽  
pp. 174462952097555
Author(s):  
Lindsey Albrecht ◽  
Hannah Starnes ◽  
Katie Benton ◽  
Awel Bol ◽  
Emily Gettings ◽  
...  
Keyword(s):  
Developmental Disabilities ◽  
Literature Review ◽  
Intellectual Disabilities ◽  
Digital Art ◽  
Social Aspects ◽  
Intellectual And Developmental Disabilities ◽  
Digital Form ◽  
Interactive Art ◽  
Digital Painting ◽  
Individuals With Intellectual Disabilities

Interactive digital art can be a beneficial therapeutic intervention for a variety of populations, but specifically for the population of intellectual and developmental disabilities. Interactive digital art uses the engagement of the participant to create a digital form of art. The purpose of this literature review is to explore the effects that interactive art has on individuals with intellectual and developmental disabilities. Interactive arts discussed were used in a variety of settings ranging from sand art, to using video games, or interactive art exhibits. Sand art and other digital painting methods were proven to be beneficial in improving cognitive functioning and social aspects of those with intellectual disabilities. While exploring the various settings, participant feedback was given in association with using interactive digital art.

MapTap and Cornelia Slow Digital Art History and Formal Art Historical Social Network Research

2016 ◽  
Vol 79 (3) ◽  
pp. 315-330 ◽  
Author(s):  
Koenraad Brosens ◽  
Klara Alen ◽  
Astrid Slegten ◽  
Fred Truyen
Keyword(s):  
Social Networks ◽  
Social Network ◽  
Early Modern ◽  
Data Model ◽  
Art History ◽  
Digital Art ◽  
Unique Data ◽  
Network Research ◽  
Custom Made

Abstract The essay introduces MapTap, a research project that zooms in on the ever-changing social networks underpinning Flemish tapestry (1620 – 1720). MapTap develops the young and still slightly amorphous field of Formal Art Historical Social Network Research (FAHSNR) and is fueled by Cornelia, a custom-made database. Cornelia’s unique data model allows researchers to organize attribution and relational data from a wide array of sources in such a way that the complex multiplex and multimode networks emerging from the data can be transformed into partial unimode networks that enable proper FAHSNR. A case study revealing the key roles played by women in the tapestry landscape shows how this kind of slow digital art history can further our understanding of early modern creative communities and industries.

Erhaltung von Werken der Digital Art

2013 ◽  
Vol 29 (8) ◽  
Author(s):  
Thomas Dreier ◽  
Veronika Fischer
Keyword(s):  
Digital Art

Digital Art Making as a Representational Process

2013 ◽  
Vol 22 (1) ◽  
pp. 121-162 ◽  
Author(s):  
Erica Rosenfeld Halverson
Keyword(s):  
Digital Art ◽  
Art Making

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.

The logic of entrapment: Digital proletarians; digital fascism; symbiosis between a virus and autocracy

Maska ◽  
2020 ◽  
Vol 35 (200s3) ◽  
pp. 98-108
Author(s):  
Miško Šuvaković
Keyword(s):  
Human Life ◽  
Digital Art ◽  
Media Representation ◽  
Essential Difference ◽  
Possible World ◽  
Digital World ◽  
Production And Consumption ◽  
Artistic Interpretation ◽  
Transitional Forms ◽  
The Difference

Abstract This text was written on the occasion of the 200th issue of Maska magazine. My goal is to identify and interpret the time when the text is written and when the 200th issue of Maska will be published. I identified a situation of sociability at the time of the coronavirus pandemic and the dominance of digital/postdigital communications. I am interested in the difference between media representation, virus events and political-or-artistic interpretation of modern and transitional forms of human life. If we are talking about digital art/culture/society in relation to the technological turns from the mechanical to the analogue-electronic world, from the analogue to the digital world, from the digital world to the post-digital world, and from the post-digital world into a De Re media possible world, then we are facing a conflict between the dialectic of emancipation through the new and the differentiation of the production/and/consumption of the new in a time and space where the human being is becoming the product of its own product. It is important to index the contemporary antagonism between the ‘digital proletarian’ and ‘digital fascism’. Confronted with digital fascism, digital proletarians pursue a risky process of self-fulfilment and thereby liberation/emancipation in complex digital practices and their impacts on other forms of existence – in a critical and dialectic ontology. Therein lies the essential difference between the politics of functionalism and that of liberation.

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