Digital art
Examples of digital art
World Skin (1997), Maurice Benayoun’s virtual reality interactive installation
Newschool ASCII Screenshot
ZOACODE: COMFORT THE LINKLESS: Zoacode contemplated by Heather Marandola in the Hyperhive of the Nervepool by Ebon Fisher
Joseph Nechvatal Orgiastic abattOir 2004 computer-robotic assisted acrylic on canvas (digital painting)
Picture produced by Drawing Machine 2
Benot Mandelbrot Initial image of a Mandelbrot set zoom sequence with continuously coloured environment Electronic Language International Festival
A scene from Rooster Teeth Productions’ popular machinima series Red vs. Blue: The Blood Gulch Chronicles
Installation by Shawn Brixey of Chimera Obscura at the Gene(sis) Exhibition (2002)
Picture by drawing machine 1, Desmond Paul Henry, c.1960s
The Cave Automatic Virtual Environment
ComplexCity by John F. Simon Jr. 2000. Software, Macintosh Powerbook G3 and acrylic. 19 x 16 x 3 1/2 inches.
Loops (still frame) by The OpenEnded Group
Nude by Sandro Bocola Multiple for xartcollection, 1970
Arambilet: Sutil/Subtle Museum of Modern Art (MAM, Dominican Republic, 2006
Bob Holmes Uncuttable (Flash Interaction), e.space, 2007, San Francisco Museum of Modern Art
Frame to Frame Robo by Graham Smith (artist and inventor)
R Gopakumar: Cognition-Libido (Digital Print 1/7) Permanent Collection Kinsey Institute for Research in Sex, Gender, and Reproduction
Arambilet: Dots on the I’s, D-ART 2009 Online Digital Art Gallery, exhibited at IV09 and CG09 computer Graphics conferences, at Pompeu Fabra University, Barcelona; Tianjin University, China; Permanent Exhibition at the London South Bank University
Shooter G.H. Hovagimyan & Peter Sinclair (sound artist), 2001 installation view at Eyebeam Atelier
Lillian Schwartz Comparison of Leonardo’s self portrait and the Mona Lisa based on Schwartz’s Mona Leo
Various aspects of digital art
Algorithmic art
Generative art
Art software
Computer art
Cyberarts
Digital morphogenesis
Electronic art
Evolutionary art
Fractal art
New Media Art
Software art
Systems art
Tradigital art
Video art
Computer art scene
Computer graphics
Digital illustration
Digital painting
Machinima
Computer music
Electronic music
Computer generated music
Music visualization
Multimedia
New Media
Digital poetry
Video poetry
Digital photography
Movie special effects
Digital imaging
Photo manipulation
Dynamic Painting
Interactive film
Austin Museum of Digital Art
Video game design
Video game art
Demoscene
Pixel art
Immersion (virtual reality)
Art game
Digital production techniques in visual media
The techniques of digital art are used extensively by the mainstream media in advertisements, and by film-makers to produce special effects. Desktop publishing has had a huge impact on the publishing world, although that is more related to graphic design. It is possible that general acceptance of the value of digital art will progress in much the same way as the increased acceptance of electronically produced music over the last three decades.
Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Though technically the term may be applied to art done using other media or processes and merely scanned in, it is usually reserved for art that has been non-trivially modified by a computing process (such as a computer program, microcontroller or any electronic system capable of interpreting an input to create an output); digitized text data and raw audio and video recordings are not usually considered digital art in themselves, but can be part of the larger project of computer art and information art. Artworks are considered digital painting when created in similar fashion to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas.
Andy Warhol created digital art with the help of Amiga, Inc. in July of 1985 when he publicly introduction at Lincoln Center Amiga paint software.
Digital photography and image processing
Digital Photography and digital printing is now an acceptable medium of creation and presentation by major museums and galleries. But the work of artists who produce digital paintings and digital printmakers is beginning to find acceptance, as the output capabilities advance and quality increases. Internationally, many museums are now beginning to collect digital art such as the San Jose Museum of Art and the Victoria and Albert Museum print department also has a reasonable but small collection of digital art. One reason why the established art community finds it difficult to accept digital art is the erroneous perception of digital prints being endlessly reproducible. Many artists though are erasing the relevant image file after the first print, thus making it a unique artwork.
The availability and popularity of photograph manipulation software has spawned a vast and creative library of highly modified images, many bearing little or no hint of the original image. Using electronic versions of brushes, filters and enlargers, these “neographers” produce images unattainable through conventional photographic tools. In addition, digital artists may manipulate scanned drawings, paintings, collages or lithographs, as well as using any of the above-mentioned techniques in combination. Artists also use many other sources of electronic information and programs to create their work.
Computer generated visual media
See also: Computer art
There are two main paradigms in computer generated imagery.[citation needed] The simplest is 2D computer graphics which reflect how you might draw using a pencil and a piece of paper. In this case, however, the image is on the computer screen and the instrument you draw with might be a tablet stylus or a mouse. What is generated on your screen might appear to be drawn with a pencil, pen or paintbrush. The second kind is 3D computer graphics, where the screen becomes a window into a virtual environment, where you arrange objects to be “photographed” by the computer. Typically a 2D computer graphics use raster graphics as their primary means of source data representations, whereas 3D computer graphics use vector graphics in the creation of immersive virtual reality installations. A possible third paradigm is to generate art in 2D or 3D entirely through the execution of algorithms coded into computer programs and could be considered the native art form of the computer. That is, it cannot be produced without the computer. Fractal art, Datamoshing, algorithmic art and Dynamic Painting are examples.
Computer generated 3D still imagery
Main article: 3D graphics
3D graphics are created via the process of designing complex imagery from geometric shapes, polygons or NURBS curves to create three-dimensional shapes, objects and scenes for use in various media such as film, television, print, rapid prototyping and the special visual effects. There are many software programs for doing this. The technology can enable collaboration, lending itself to sharing and augmenting by a creative effort similar to the open source movement, and the creative commons in which users can collaborate in a project to create unique pieces of art.
Computer generated animated imagery
Main article: Computer-generated imagery
See also: Computer animation
Computer-generated animations are animations created with a computer, from digital models created by the artist[not specific enough to verify]. The term is usually applied to works created entirely with a computer. Movies make heavy use of computer-generated graphics; they are called computer-generated imagery (CGI) in the film industry. In the 1990s, and early 2000s CGI advanced enough so that for the first time it was possible to create realistic 3D computer animation, although films had been using extensive computer images since the mid-70s. A number of modern films have been noted for their heavy use of photo realistic CGI.
Digital installation art
See also: interactive art
Digital installation art constitutes a broad field of activity and incorporates many forms. Some resemble video installations, particularly large scale works involving projections and live video capture. By using projection techniques that enhance an audiences impression of sensory envelopment, many digital installations attempt to create immersive environments. Others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces.
Noah Wardrip-Fruin’s interactive new media art piece entitled “Screen is an example of digital installation art. To view and interact with the piece, a user first enters a room, called the “Cave,” which is a virtual reality display area with four walls surrounding the participant. White memory texts appear on the background of black walls. Through bodily interaction, such as using one’s hand, a user can move and bounce the text around the walls. The words can be made into sentences and eventually begin to “peel” off and move more rapidly around the user, creating a heightening sense of misplacement.
“In addition to creating a new form of bodily interaction with text through its play, Screen moves the player through three reading experiences beginning with the familiar, stable, page-like text on the walls, followed by the word-by-word reading of peeling and hitting (where attention is focused), and with more peripheral awareness of the arrangements of flocking words and the new (often neologistic) text being assembled on the walls. Screen was first shown in 2003 as part of the Boston Cyberarts Festival (in the Cave at Brown University) and documentation of it has since been featured at The Iowa Review Web, presented at SIGGRAPH 2003, included in Alt+Ctrl: a festival of independent and alternative games, published in the DVD magazines Aspect and Chaise, as well as in readings in the Hammer Museum’s HyperText series, at ACM Hypertext 2004, and in other venues.”
List of digital artists
Arambilet
Cory Arcangel
Carlos Amorales
Hisham Zreiq
Roy Ascott
San Base
Maurice Benayoun
Sandro Bocola
Shawn Brixey
Thomas Charvriat
Caterina Davinio
Agricola de Cologne
Brody Condon
Donna Cox
Charles Csuri
Char Davies
Ronald Davis
Heiko Daxl
Rich DiSilvio
Pascal Dombis
David Em
Ken Feingold
Fred Forest
Herbert W. Franke
Ingeborg Flepp
Laurence Gartel
George Grie
Lynn Hershman
Perry Hoberman
Bob Holmes
Marc Horowitz
G.H. Hovagimyan
Eduardo Kac
Junichi Kakizaki
KMA
Liu Dao
Roy LaGrone
John Lansdown
George Legrady
Golan Levin
Rafael Lozano-Hemmer
Machfeld
Michael Mandiberg
Lev Manovich
Dave McKean
Christian Moeller
Manfred Mohr
Francesco Monico
Michael Naimark
Frieder Nake
Graham Nicholls
Joseph Nechvatal
The OpenEnded Group
Zaven Par
Nicola Pezzetta
Melinda Rackham
Knowbotic Research
Don Ritter
Ken Rinaldo
Miroslaw Rogala
David Rokeby
Stefan Roloff
Jason Salavon
Lillian Schwartz
Stjepan eji
Graham Smith (artist and inventor)
Scott Snibbe
Alan Sondheim
Manfred Stumpf
Camille Utterback
Bill Viola
Andy Warhol
Noah Wardrip-Fruin
David Rokeby
Citations
^ Christiane Paul (2006). Digital Art, pp 7-8. Thames & Hudson.
^ Lieser, Wolf. Digital Art. Langenscheidt: h.f. ullmann. 2009, pp. 13-15
^ Donald Kuspit The Matrix of Sensations VI: Digital Artists and the New Creative Renaissance
^ Charlie Gere Art, Time and Technology: Histories of the Disappearing Body (Berg, 2005). ISBN 978-1845201357 This text concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of so-called eal-time digital technologies. It draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-Franois Lyotard and Andr Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Kasimir Malevich, among others.
^ Charlie Gere, (2002) Digital Culture, Reaktion.
^ Christiane Paul (2006). Digital Art, pp. 27-67. Thames & Hudson.
^ Wands, Bruce (2006). Art of the Digital Age, pp. 10-11. Thames & Hudson.
^ Paul, Christiane (2006. Digital Art, pp. 54-60. Thames & Hudson.
^ Amiga: The Computer That Wouldn Die’ http://design.osu.edu/carlson/history/PDFs/amiga-ieeespectrum.pdf
^ Andy Warhol makes a digital painting of Debbie Harry at the Commodore Amiga product launch press conference in 1985.
^ Frank Popper, Art of the Electronic Age, Thames & Hudson, 1997.
^ Wands, Bruce (2006). Art of the Digital Age, pp. 15-16. Thames & Hudson.
^ Lev Manovich (2001) The Language of New Media Cambridge, Massachusetts: The MIT Press.
^ Paul, Christiane (2006). Digital Art, pp 71. Thames & Hudson.
^ http://www.noahwf.com/screen/index.html
References
Donald Kuspit The Matrix of Sensations VI: Digital Artists and the New Creative Renaissance
Fred Forest (1998) ” Pour un art actuel, l’art l’heure d’Internet, l’Harmattan. ISBN 2-7385-7223-0, “Art et Internet”, Cercle d’Art,2008. ISBN 978-2-7022- 0864-9
Paul, Christiane (2003). Digital Art (World of Art series). London: Thames & Hudson. ISBN 0-500-20367-9
Frank Popper (1997) Art of the Electronic Age, Thames & Hudson
Christine Buci-Glucksmann,(2002) La folie du voir: Une esthtique du virtuel, Galile
Lev Manovich (2001). The Language of New Media Cambridge, Massachusetts: The MIT Press. ISBN 0-262-63255-1
Charlie Gere, (2002) Digital Culture, Reaktion ISBN 978-1861891433
Edward A. Shanken, Art and Electronic Media. London: Phaidon, 2009. ISBN 9780714847825
Wands, Bruce (2006). Art of the Digital Age, London: Thames & Hudson. ISBN 0-500-23817-0.
Ryan Bliss Artist Biography Digital Blasphemy 3D Wallpaper
Further reading
Cynthia Goodman Digital Visions, Harry N. Abrams 1987
Fred Forest (1998) ” Pour un art actuel, l’art l’heure d’Internet, l’Harmattan. ISBN 2-7385-7223-0, “Art et Internet”, Cercle d’Art,2008. ISBN 978-2-7022- 0864-9
Frank Popper, From Technological to Virtual Art, MIT Press/Leonardo Books, 2007
Frank Popper Ecrire sur l’art : De l’art optique a l’art virtuel, L’Harmattan 2007
Joline Blais and Jon Ippolito At the Edge of Art, Thames & Hudson Ltd, 2006
Digital fine art
Donald Kuspit “Del Atre Analogico al Arte Digital” in Arte Digital Y Videoarte, Kuspit, D. ed., Consorcio del Circulo de Bellas Artes, Madrid
Robert C. Morgan Digital Hybrids, Art Press Volume #255
Alan Liu The Laws of Cool, Chicago Press
Bruce Wands Art of the Digital Age, London: Thames & Hudson
Donald Kuspit The Matrix of Sensations VI: Digital Artists and the New Creative Renaissance
Lieser, Wolf. Digital Art. Langenscheidt: h.f. ullmann. 2009
Lopes, Dominic McIver. (2009). A Philosophy of Computer Art. London: Routledge
Christiane Paul. Digital Art (World of Art series). London: Thames & Hudson. 2003 ISBN 0-500-20367-9
Peter Weibel and Shaw, Jeffrey, Future Cinema, MIT Press 2003, pp. 472,572-581, ISBN 0262692864
Christine Buci-Glucksmann, “Lrt loque virtuel”, in Frontires esthtiques de lrt, Arts 8, Paris: Larmattan, 2004
Wilson, Steve Information Arts: Intersections of Art, Science, and Technology (MIT Press/Leonardo Books) ISBN 0-262-23209-X
Margot Lovejoy Digital Currents: Art in the Electronic Age Routledge 2004
Lev Manovich, Ten Key Texts on Digital Art: 1970-2000 Leonardo – Volume 35, Number 5, October 2002, pp. 567-569
Dick Higgins, ntermedia (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970, London: Tate Publishing, 2005
Nicolas Bourriaud, (1997) Relational Aesthetics, Dijon: Les Presses du Rel, 2002, orig. 1997
Rainer Usselmann, (2003)”The Dilemma of Media Art: Cybernetic Serendipity at the ICA London”,Cambridge, Masschusetts: The MIT Press/Leonardo Journal – Volume 36, Number 5, October 2003, pp. 389-396
Rainer Usselmann, (2002)”About Interface: Actualisation and Totality”,University of Southampton Press
Charlie Gere, (2006) White Heat, Cold Logic: Early British Computer Art, co-edited with Paul Brown, Catherine Mason and Nicholas Lambert, MIT Press/Leonardo Books
Mark Hansen, (2004) New Philosophy for New Media (Cambridge, MA: MIT Press
Oliver Grau, (2003) Virtual Art: From Illusion to Immersion (Leonardo Book Series). Cambridge/Mass.: MIT-Press.
Joseph Nechvatal (2009) Immersive Ideals / Critical Distances. LAP Lambert Academic Publishing
Fleischmann, Monika, Reinhard, Ulrike (2004) (eds.): Digital Transformations Media Art at the Interface between Art, Science, Economy and Society. Fraunhofer IAIS – MARS Exploratory Media Lab and whois, Heidelberg 2004, ISBN 3-934013-38-4. And on netzspannung.org platform for Media Art & Electronic Culture.
James Faure Walker (2006) Painting the Digital River: How an Artist Learned to Love the Computer, Prentice-Hall (USA). ISBN 0-13-173902-6
Fred Forest (2008) Art et Internet, Editions Cercle D’Art / Imaginaire Mode d’Emploi
Robert C. Morgan, Commentaries on the New Media Arts Pasadena, CA: Umbrella Associates,1992
Sarah J. Rogers (ed), Body Mcanique: Artistic Explorations of Digital Realms, Columbus, Ohio, Wexner Center for the Arts, The Ohio State University, 1998
Joe Nalven and JD Jarvis “Going Digital: The Practice and Vision of Digital Artists,” Thompson Course Technology, 2005
Alan Kirby (2009) Digimodernism. New York: Continuum.
Anne-Ccile Worms, (2008) Arts Numriques: Tendances, Artistes, Lieux et Festivals M21 Editions 2008 ISBN: 2-916260-33-1.
External links
Andy Warhol makes a digital painting of Debbie Harry at the Commodore Amiga product launch press conference in 1985.
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