Digital Art History: A Subject in Transition. Computers and the History of Art Series, Volume 1 (Intellect Books - Computers and the History of Art)
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This book looks at the transformation that Art and Art history is undergoing through engagement with the digital revolution. Since its initiation in 1985, CHArt (Computers and the History of Art) has set out to promote interaction between the rapidly developing new Information Technology and the study and practice of Art. It has become increasingly clear in recent years that this interaction has led, not just to the provision of new tools for the carrying out of existing practices, but to the evolution of unprecedented activities and modes of thought. This collection of papers represents the variety, innovation and richness of significant presentations made at the CHArt Conferences of 2001 and 2002. Some show new methods of teaching being employed, making clear in particular the huge advantages that IT can provide for engaging students in learning and interactive discussion. It also shows how much is to be gained from the flexibility of the digital image ‚Äì or could be gained if the road block of copyright is finally overcome. Others look at the impact on collections and archives, showing exciting ways of using computers to make available information about collections and archives and to provide new accessibility to archives. The way such material can now be accessed via the internet has revolutionized the search methods of scholars, but it has also made information available to all. However the internet is not only about access. Some papers here show how it also offers the opportunity of exploring the structure of images and dealing with the fascinating possibilities offered by digitisation for visual analysis, searching and reconstruction. Another challenging aspect covered here are the possibilities offered by digital media for new art forms. One point that emerges is that digital art is not some discreet practice, separated from other art forms. It is rather an approach that can involve all manner of association with both other art practices and with other forms of presentation and enquiry, demonstrating that we are witnessing a revolution that affects all our activities and not one that simply leads to the establishment of a new discipline to set alongside others.
means of learning the rules that govern society. You learn to handle the game actions, solve the puzzles and survive. Hence you learn to live by the rules of the game. You are the player, embedded in the game and responsible for the action – at least for your protagonist’s actions and for not getting killed or thrown out of the game. Games such as Doom and Myst engage the player in the visual display through sound and visual effects, but mainly by employing the ‘famed’ first person camera view,
assumptions about the geometry of the scene. Two plausible assumptions may be made: either the coffers on the vault of the chapel are square or the floor is square. The reconstruction shown in Figs. 7b-e has been achieved by assuming that the vault coffers are square. Just by looking at the painting one may think that the two assumptions are consistent with each other. Below we demonstrate that that is not the case, the two assumptions cannot coexist, i.e. square coffers imply a rectangular
activities and not one that simply leads to the establishment of a new discipline to set alongside others. DigitalArtHistory 20/12/04 11:20 am Page 3 History of Art in the Digital Age: Problems and Possibilities1 William Vaughan The IT Revolution. Gutenberg Revisited? There can be little doubt in anyone’s mind now that we are in the midst of one of the most dramatic technological transformations in the history of man. Since the establishment of the World Wide Web in the early 1990s, this
page of CBIR results (Image courtesy of Corporation of London, Library and Guildhall Art Gallery Department). Respondents Respondents reported a range of professions with no apparent groupings emerging. ‘Retired’ (11 per cent) and ‘education’ (10 per cent) were the most frequently reported categories. Sixty-two per cent of the respondents were UK residents with 22 per cent USA residents. However, there were also visitors from Australia, Canada, France, Germany, Austria, Poland, Portugal, and
Mechanical Reproduction.5 Much attention has been focused on the notion that the ‘aura’ of a work of art is related to its ‘uniqueness’. The digital image can present a challenge to such claims in two ways. First, it is by its very nature infinitely reproducible. Indeed it is nothing but reproduction. There is, literally, no original of a digital image, since every version has equal status by virtue of being absolutely identical. Variation does occur in practice, but only at the point where the