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In the past twenty years digital technology has had a radical
impact on all the disciplines associated with the visual arts -
this book provides expert views of that impact. By looking at the
advanced ICT methods now being employed, this volume details the
long-lasting effects and advances now made possible in art history
and its associated disciplines. The authors analyze the most
advanced and significant tools and technologies, from the ongoing
development of the Semantic Web to 3D visualization, focusing on
the study of art in the various contexts of cultural heritage
collections, digital repositories and archives. They also evaluate
the impact of advanced ICT methods from technical, methodological
and philosophical perspectives, projecting supported theories for
the future of scholarship in this field. The book not only charts
the developments that have taken place until now but also indicates
which advanced methods promise most for the future.
Much as art history is in the process of being transformed by new
information communication technologies, often in ways that are
either disavowed or resisted, art practice is also being changed by
those same technologies. One of the most obvious symptoms of this
change is the increasing numbers of artists working in
universities, and having their work facilitated and supported by
the funding and infrastructural resources that such institutions
offer. This new paradigm of art as research is likely to have a
profound effect on how we understand the role of the artist and of
art practice in society. In this unique book, artists, art
historians, art theorists and curators of new media reflect on the
idea of art as research and how it has changed practice. Intrinsic
to the volume is an investigation of the advances in creative
practice made possible via artists engaging directly with
technology or via collaborative partnerships between practitioners
and technological experts, ranging through a broad spectrum of
advanced methods from robotics through rapid prototyping to the
biological sciences.
Much as art history is in the process of being transformed by new
information communication technologies, often in ways that are
either disavowed or resisted, art practice is also being changed by
those same technologies. One of the most obvious symptoms of this
change is the increasing numbers of artists working in
universities, and having their work facilitated and supported by
the funding and infrastructural resources that such institutions
offer. This new paradigm of art as research is likely to have a
profound effect on how we understand the role of the artist and of
art practice in society. In this unique book, artists, art
historians, art theorists and curators of new media reflect on the
idea of art as research and how it has changed practice. Intrinsic
to the volume is an investigation of the advances in creative
practice made possible via artists engaging directly with
technology or via collaborative partnerships between practitioners
and technological experts, ranging through a broad spectrum of
advanced methods from robotics through rapid prototyping to the
biological sciences.
In the past twenty years digital technology has had a radical
impact on all the disciplines associated with the visual arts -
this book provides expert views of that impact. By looking at the
advanced ICT methods now being employed, this volume details the
long-lasting effects and advances now made possible in art history
and its associated disciplines. The authors analyze the most
advanced and significant tools and technologies, from the ongoing
development of the Semantic Web to 3D visualization, focusing on
the study of art in the various contexts of cultural heritage
collections, digital repositories and archives. They also evaluate
the impact of advanced ICT methods from technical, methodological
and philosophical perspectives, projecting supported theories for
the future of scholarship in this field. The book not only charts
the developments that have taken place until now but also indicates
which advanced methods promise most for the future.
Eleven contributors to this volume reflect upon the unprecedented
ways in which digital media have been transforming art practice,
study and education. The authors - researchers, teachers,
custodians of art collections and picture libraries, and an artist
- cover a wide range of issues, arguing for a more profound
understanding of digital culture. With the benefit of hindsight it
is now possible to look at futures past and assess the disparities
between earlier visions of the future and reality. Frank accounts
are given of projects which had promised great advances but failed
to deliver, and others that have not only survived but continue to
flourish. Another account demonstrates how an individual can make a
difference to students' learning by applying new technologies in a
very pragmatic way. One of the most exciting advancements hinted at
in this volume are the ways in which communities of interest are
developing shared resources and cultivating a richer use of common
vocabulary and standards to transmit an abundance of knowledge and
experience. A look forward to the Semantic Web promises an even
wider sharing of knowledge.
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