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Home / How Can Virtual Representations Be Used or Seen as Art?

How Can Virtual Representations Be Used or Seen as Art?

Commonage term for art that is generated digitally with a computer

Irrational Geometrics digital art installation 2008 by Pascal Dombis

Joseph Nechvatal nascency Of the viractual 2001 calculator-robotic assisted acrylic on canvass

Digital art is an artistic work or practice that uses digital technology equally part of the creative or presentation process. Since the 1960s, various names have been used to draw the process, including computer art and multimedia art.[i] Digital fine art is itself placed under the larger umbrella term new media art.[2] [3]

After some initial resistance,[4] the impact of digital technology has transformed activities such as painting, literature, drawing, sculpture and music/sound art, while new forms, such equally net art, digital installation art, and virtual reality, have become recognized artistic practices.[5] More than generally the term digital artist is used to depict an artist who makes use of digital technologies in the production of fine art. In an expanded sense, "digital art" is contemporary art that uses the methods of mass production or digital media.[half dozen]

The techniques of digital fine art are used extensively past the mainstream media in advertisements, and past moving-picture show-makers to produce visual effects. Desktop publishing has had a huge affect on the publishing world, although that is more related to graphic design. Both digital and traditional artists use many sources of electronic information and programs to create their work.[7] Given the parallels between visual and musical arts, it is possible that general acceptance of the value of digital visual art volition progress in much the same style every bit the increased acceptance of electronically produced music over the final three decades.[8]

Digital art tin can be purely figurer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an paradigm fatigued using vector graphics software using a mouse or graphics tablet.[9] Though technically the term may exist practical to art washed using other media or processes and merely scanned in (from scanography ), information technology is usually reserved for art that has been not-trivially modified by a computing process (such as a computer programme, microcontroller or whatever electronic organization capable of interpreting an input to create an output); digitized text data and raw sound and video recordings are not usually considered digital art in themselves, simply tin be office of the larger project of computer art and information art.[x] Artworks are considered digital painting when created in a similar fashion to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas.[11]

Andy Warhol created digital art using a Commodore Amiga where the computer was publicly introduced at the Lincoln Middle, New York in July 1985. An paradigm of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics plan chosen ProPaint. Warhol manipulated the image adding colour past using flood fills.[12] [13]

Amidst varied opinions on the pros and cons of digital engineering science on the arts, there seems to be a strong consensus within the digital art community that it has created a "vast expansion of the creative sphere", i.e., that it has profoundly broadened the creative opportunities available to professional and not-professional artists alike.[14]

Whilst 2nd and 3D digital art is beneficial as information technology allows preservation of history that would otherwise accept been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans - i.e. who should own the digital copyrights.[xv]

Computer-generated visual media [edit]

Digital visual art consists of either 2D visual information displayed on an electronic visual brandish or information mathematically translated into 3D information, viewed through perspective projection on an electronic visual display. The simplest is 2nd computer graphics which reflect how you might depict using a pencil and a piece of paper. In this case, withal, the prototype is on the figurer screen and the instrument you draw with might exist a tablet stylus or a mouse. What is generated on your screen might announced 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 surround, where you arrange objects to be "photographed" by the computer. Typically a 2D figurer graphics use raster graphics equally their main 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 2nd or 3D entirely through the execution of algorithms coded into computer programs. This tin be considered the native art class of the calculator, and an introduction to the history of which is available in an interview with reckoner fine art pioneer Frieder Nake.[16] Fractal art, Datamoshing, algorithmic art and real-fourth dimension generative fine art are examples.

Calculator generated 3D even so imagery [edit]

3D graphics are created via the procedure of designing imagery from geometric shapes, polygons or NURBS curves[17] to create three-dimensional objects and scenes for use in various media such equally moving-picture show, goggle box, print, rapid prototyping, games/simulations and special visual effects.

In that location are many software programs for doing this. The engineering can enable collaboration, lending itself to sharing and augmenting by a creative effort like to the open source movement, and the creative eatables in which users can collaborate in a projection to create art.[18]

Pop surrealist artist Ray Caesar works in Maya (a 3D modeling software used for digital animation), using it to create his figures as well as the virtual realms in which they exist.

Computer generated animated imagery [edit]

Estimator-generated animations are animations created with a figurer, from digital models created past the 3D artists or procedurally generated. The term is usually applied to works created entirely with a computer. Movies make heavy apply of computer-generated graphics; they are chosen estimator-generated imagery (CGI) in the film industry. In the 1990s, and early 2000s CGI advanced enough so that for the first fourth dimension it was possible to create realistic 3D calculator animation, although films had been using extensive reckoner images since the mid-70s. A number of modern films take been noted for their heavy employ of photograph realistic CGI.[nineteen]

Digital installation art [edit]

Boundary Functions at the Tokyo Intercommunications Center, 1999.

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 raise an audience's impression of sensory envelopment, many digital installations endeavour to create immersive environments. Others become even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is more often than not site-specific, scalable, and without fixed dimensionality, meaning it tin can be reconfigured to arrange unlike presentation spaces.[21]

Noah Wardrip-Fruin'south "Screen" (2003) is an example of interactive digital installation art which makes utilise of a Cave Automatic Virtual Environment to create an interactive experience.[22] Scott Snibbe'due south "Boundary Functions" is an case of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people indicating their personal space.[twenty]

Digital fine art and blockchain [edit]

Meet also: NFT

Blockchain, and more specifically NFTs, have been associated with Digital Art since the NFTs craze of 2020 and 2021. While the technology received many critics and has many flaws related to plagiarism and fraud (due to its nearly completely unregulated nature),[23] sale houses like Sotheby's, Christie's and diverse museums and galleries in the world started collaborations and partnerships with digital artists, selling NFTs associated with digital artworks (via NFT platforms) and showcasing those artworks (associated to the corresponding NFTs) both in virtual galleries and real life screens, monitors and TVs.[24] [25]

Fine art theorists and historians [edit]

Notable fine art theorists and historians in this field include Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Robert C. Morgan, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Fred Forest and Edward A. Shanken.

Subtypes [edit]

  • Art game
  • ASCII art
  • Chip fine art
  • Computer fine art scene
  • Figurer music
  • Crypto fine art
  • Cyberarts
  • Digital illustration
  • Digital imaging
  • Digital literature
  • Digital painting
  • Digital photography
  • Digital poetry
  • Digital sculpture
  • Digital architecture
  • Dynamic Painting
  • Electronic music
  • Evolutionary art
  • Fractal art
  • Generative art
  • Generative music
  • GIF fine art
  • Immersion (virtual reality)
  • Interactive fine art
  • Internet art
  • Motion graphics
  • Music visualization
  • Photograph manipulation
  • Pixel fine art
  • Render art
  • Software art
  • Systems art
  • Textures
  • Tradigital art

Related organizations and conferences [edit]

  • Artfutura
  • Artmedia
  • Austin Museum of Digital Fine art
  • Calculator Arts Club
  • EVA Conferences
  • Los Angeles Center for Digital Art
  • Lumen Prize
  • onedotzero
  • V&A Digital Futures

Encounter also [edit]

  • Algorithmic art
  • Reckoner art
  • Figurer graphics
  • Electronic art
  • Generative art
  • Graphic arts
  • New media art
  • Theatre of Digital Art
  • Virtual art

References [edit]

  1. ^ Reichardt, Jasia (1974). "Twenty years of symbiosis between art and science". Art and Science. XXIV, (1): 41–53.
  2. ^ Christiane Paul (2006). Digital Art, pp. 7–eight. Thames & Hudson.
  3. ^ Lieser, Wolf. Digital Art. Langenscheidt: h.f. ullmann. 2009, pp. 13–xv
  4. ^ Taylor, G. D. (2012). The soulless usurper: Reception and criticism of early computer art. In H. Higgins, & D. Kahn (Eds.), Mainframe experimentalism: Early on digital computing in the experimental arts. Berkeley, CA: University of California Press
  5. ^ Donald Kuspit The Matrix of Sensations Half dozen: Digital Artists and the New Artistic Renaissance
  6. ^ Charlie Gere Art, Fourth dimension and Technology: Histories of the Disappearing Torso (Berg, 2005). ISBN 978-1-84520-135-7 This text concerns artistic and theoretical responses to the increasing speed of technological evolution and performance, especially in terms of and then-called 'existent-time' digital technologies. It draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-François Lyotard and André Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Malevich, among others.
  7. ^ Frank Popper, Fine art of the Electronic Age, Thames & Hudson, 1997.
  8. ^ Charlie Gere, (2002) Digital Civilization, Reaktion.
  9. ^ Christiane Paul (2006). Digital Art, pp. 27–67. Thames & Hudson.
  10. ^ Wands, Bruce (2006). Art of the Digital Age, pp. x–11. Thames & Hudson.
  11. ^ Paul, Christiane (2006). Digital Art, pp. 54–60. Thames & Hudson.
  12. ^ 'Reimer, Jeremy (Oct 21, 2007). "A history of the Amiga, part 4: Enter Commodore". Arstechnica.com . Retrieved June 10, 2011.
  13. ^ YouTube. Archived from the original on 2009-05-07.
  14. ^ Bessette, Juliette, Frederic Fol Leymarie, and Glenn Westward. Smith (16 September 2019). "Trends and Anti-Trends in Techno-Art Scholarship: The Legacy of the Arts "Machine" Special Bug". Arts. 8 (3): 120. doi:10.3390/arts8030120. {{cite journal}}: CS1 maint: uses authors parameter (link)
  15. ^ Sydell, Laura (21 May 2018). "3D Scans Help Preserve History, But Who Should Own Them? 2018". NPR. Archived from the original on 2022-01-18. Retrieved seven February 2021.
  16. ^ Smith, Glenn (31 May 2019). "An Interview with Frieder Nake". Arts. viii (2): 69. doi:10.3390/arts8020069.
  17. ^ Wands, Bruce (2006). Art of the Digital Age, pp. 15–xvi. Thames & Hudson.
  18. ^ Foundation, Blender. "About". blender.org . Retrieved 2021-02-25 .
  19. ^ Lev Manovich (2001) The Linguistic communication of New Media Cambridge, Massachusetts: The MIT Printing.
  20. ^ a b "Boundary Functions"
  21. ^ Paul, Christiane (2006). Digital Art, pp 71. Thames & Hudson.
  22. ^ "screen - noah wardrip-fruin".
  23. ^ "Does NFT Art Have A Place In The Museum In 2022?". jingculturecommerce.com.
  24. ^ "Natively Digital: A Curated NFT Sale". sothebys.com.
  25. ^ "Beeple sold an NFT for $69 million". theverge.com.

External links [edit]

  • Media related to Digital art at Wikimedia Commons
  • Dreher, Thomas. "History of Computer Fine art"
  • Zorich, Diane Chiliad. "Transitioning to a Digital Globe"

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Source: https://en.wikipedia.org/wiki/Digital_art