'Digital Mantra', World Art, No. 1, 1996, pp. 45-9. (original) (raw)
Related papers
2018
A digital representation is one based on countable, discrete values, but definitions of Digital Art do not always<br> take account of this. We examine the nature of digital and analogue representations, and draw from a rich pre-industrial and ancient history of their presence in the arts, with emphasis on textile weaves. We reflect on how this approach opens up a long, rich history, arguing that our understanding of digital art should be based on discrete pattern, rather than technological fashion.
2020
The multifaceted history of digital art has also entailed an evolution of understanding the complex relationships between the material and immaterial in the digital medium. This text traces the histories of digital objects and systems from the 1960s to the so-called 'post-digital' era, which finds its artistic expression in works shaped by digital technologies and networks, yet taking the material form of objects such as paintings, sculptures, or photographs. The term neomateriality is used here to capture an objecthood that reflects back the data of humans and the environment, or reveals the way in which digital processes perceive and shape our world. Digital materialities are considered in relation to network cultures and politics, as well as art institutions.
The Aesthetics of Digital Art.pdf
This is an edited version of the Introduction to my book Digital Art, Aesthetic Creation: The Birth of a Medium, published by Routledge in their Advances in Art and Visual Studies series, 2019. In the book, the chapter is entitled ‘Introduction: The Possibility of Art’. If you wish to cite this discussion please refer to the version as presented in the book . The discussion here justifies why digital art can be regarded as an authentically artistic mode of creation, and considers aspects of its creativity.
Artl@s Bulletin (issue 4.1) : Digital Space Art (History?)
Invited by ARTL@S Bulletin as visual artist, France Languérand opted for a first-person text introducing her artworks—which develop into the digital sphere, questionning their own sustainability— and recounting the evolution of her relationship the digital space. This walkthrough is guided by her current thoughts about numbers and coding system as creative tools. Languérand’s pieces are only partially visible in the physical world but exist entirely in the digital space.
IEEE Annals of the History of Computing, 1998
This article is a collection of reminiscences that capture some of the spirit of the past days of computer graphics.
2015
Invited by ARTL@S Bulletin as visual artist, France Languérand opted for a first-person text introducing her artworks—which develop into the digital sphere, questionning their own sustainability— and recounting the evolution of her relationship the digital space. This walkthrough is guided by her current thoughts about numbers and coding system as creative tools. Languérand’s pieces are only partially visible in the physical world but exist entirely in the digital space