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Digital Art and Technology Creating Beauty

Digital Art
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Digital art and technology create beauty
Humans have been creating visual arts since the dawn of our species, starting with powerful representations of games found in caves stretching from France to Indonesia. The art is interpretive, reflecting an inner vision of the creator meant to resonate with the senses, emotions, and intellect of the viewer. Good art always inspires. When used in marketing, striking images can enhance brand identity and motivate people to shop.

Visual art is constantly evolving. For example, there was a time when easel oil painting was a new means of transformation. In the years to come, we will unleash the artistic potential of virtual reality.

The development of digital art technologies

Digital art slowly emerged in the late 1980s with the introduction of personal computers. Thirty years later, we have a screen-dominated world, with an average person spending ten hours a day on digital devices. At the same time, there has been a drastic drop in the cost of digital art software with the exponential growth in chip power and bandwidth. This has made creating digital art affordable for artists and other creative people who want to explore the potential of this medium.
We talk about it a lot, and yet its scope and adoption are elusive, “digital art” describes the technological arts, with flowing boundaries offering many possible interpretations of terminology. The term itself has evolved over time and while computer art, multimedia art, and cyber art were the norm in the 1960s-90s, the rise of the World Wide Web added a layer of connectivity resulting in a language change.

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As such, we now prefer the terms digital art and new media which may be used interchangeably with a few nuances.
Art historians often categorize digital art into two categories: object-oriented works of art and process-oriented visuals. In the first scenario, digital technologies are a means to an end, and function as a tool for the creation of traditional objects such as paintings, photographs, prints, and sculptures. In the second case, the technology is the end itself, and the artists explore the possibilities involved in the very essence of this new medium. The latter category – often associated with the term “new media” – refers to any computable art that is digitally created, stored, and distributed. In other words, while some works rely on digital tools to magnify an already existing medium, others use digital technology as an intrinsic and inseparable component of the making of the artifact.

Historical background of the 3D painting.

The painting digital appeared in the 1990s and embraces traditional painting techniques such as watercolor, oil paint, and impasto. As the artist develops a graphic design using a computer, tablet, or stylus, the process itself is similar to painting with traditional materials and results in a pictorial aesthetic. Digital paintings also share characteristics specific to computer art visuals, such as repetition and distortion of elements, and can result in abstract imagery. The last year also saw the rise of 3D painting driven by the use of virtual reality with the application of Google Tilt Brush and its artists in residence.

Our first Laffy Maffei Gallery specializes in this segment with the promotion of artists like Andrej Ujhazy and Alexandra Gorczynski.

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Digital photography includes the use of images taken from reality by the through photographs, scans, satellite imagery, and other possible recordings of what exists. This segment often mixes up what is and what is not, blurring lines and distorting our understanding of truth. Traditional techniques of collage and assemblage of elements, as well as the layering and mixing of visuals through morphing technology, are part of this current of digital imagery led by artists like Nancy Burson, Daniel Canogar, Thomas Ruff and Andreas Gorsky.

Digital, Video, Animations, and Images

Video, animation, and the moving image constitute the most obvious scene for questioning reality. This technology allows the complete recording of an event through both space and time, while simultaneously dealing with the editing and transformation of what is honestly happening. Two strands define the moving image: live-action on the one hand, and animation, and 3D worlds on the other. The moving image is often the preferred medium for the development of virtual reality and immersive environments, which explains its close link with the art of installation.

Examples of digital artists working with video include Pipilotti Rist, Ryoji Ikeda, Yoshi Sodeoka, Toni Dove, and Jacques Perconte.

Mixed media are essential for digital media. Unlike traditional creation, calculation implies that elements of a different nature can be combined and coordinated to produce a complete experience for the viewer. Works of art can thus combine fixed and moving images, augmented reality, sound, photography, etc. A medium of the artwork can also be distinguished, which means that a digital creation can lead to various physical outputs, depending on the wishes and common goals of the curators, artists, and curators.

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