Digital painting is the field of software designed to provide artists a virtual medium to emulate the experience and results of physical drawing. Several hardware and software components come together to form a whole workflow, ranging from the physical input devices, to the stroking process, to the texture content authorship. This thesis explores an artist-friendly approach to synthesize the textures that give life to digital brush strokes. Most painting software provides a limited library of predefined brush textures. They aim to offer styles approximating physical media like paintbrushes, pencils, markers, and airbrushes. Often these are static bitmap textures that are stamped onto the canvas at repeating intervals, causing discernible repetition artifacts. When more variety is desired, artists often download commercially available brush packs that expand the library of styles. However, included and supplemental brush packs are not easily artist-customizable. In recent years, a separate field of digital art tooling has seen the popular growth of node-based procedural content generation. 3D models, shaders, and materials are commonly authored by artists using functions that can be linked together in a visual programming environment called a node graph. In this work, the feasibility is tested of using a node graph to procedurally generate highly customizable brush textures. The system synthesizes textures that adapt to parameters like pen pressure and stretch along the full length of each brush stroke instead of stamping repetitively. The result is a more flexible and artist-friendly way to define, share, and tweak brush textures used in digital painting.

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My work attempts to articulate how the format visual information is presented in changes our understanding of the visual information and our relationship to it. I explore analog and digital conversions, the audio and the visual sharing 3 dimensional space, and explore our relationship with screens, information and light. This paper discusses the ideas and underlying themes within my digital works that center around light as a form of information and communication. My work is also related to the transformation of technology that has occurred across many platforms throughout my lifetime. The most striking example is the telephone. The telephone has transitioned from an analog device on the wall that we speak into, to the phone we know today; a computer we carry around in our pocket with a screen we communicate through. This transformation of technology has changed our daily lives in ways past generations only dreamt of. We no longer log on or go online. We are always connected to a network of information, individuals and communities by an endless live stream of data. We live in an information super age, where we have access to nearly the entirety of knowledge humans have been able to acquire. Whether by reading by candle light, or a collection of pixels in the form of a screen, we use light to communicate all of these ideas and information. Social media, global positioning systems and on demand services have reached a point where our actions and nearly everything around us is tied to a computational system. My work attemps to bring this computational system into our physical space, where it can be acknowledged in the form of light and sound. / Master of Fine Arts / We live in an information super age, where we have access to nearly the entirety of knowledge humans have been able to acquire. Whether by reading by candle light, or a collection of pixels in the form of a screen, we use light to communicate all of these ideas and information. The format visual information is presented in changes our understanding of the visual information and our relationship to it. This paper discusses the ideas and underlying themes within my digital works that center around light as a form of information and communication.

This article examines how presence and participation in contemporary installation art is reconfigured in online documentation. Considering documentation as an essential component of the art experience, it discusses its ramifications from an artistic as well as an institutional perspective. Using internationally renowned installation artist Olafur Eliasson as example, the article focuses on the documentation of his large-scale installation works in the ongoing art project “Your Uncertain Archive” (https://olafureliasson.net/uncertain). This online archive gathers Eliasson’s artistic output in one (virtual) place, using various techniques to capture and expand on the original on-site art experience. Special attention is devoted to the video documentation of the recent exhibition Life (Fondation Beyeler, 2021), which uses subjective shots, masking and optical filters in order to make the claims of the exhibition more accessible to online audiences.

Thesis (D. Tech.) - Central University of Technology, Free State, 2009

Le répertoire musical produit au moyen de la synthèse numérique du son durant les vingt premières années de développement de ces techniques (1957-1977) n’avait jamais fait l’objet d’une étude musicologique exhaustive, malgré l’importance de ce domaine en ce qui regarde l’évolution de l’univers sonore contemporain, et les nombreux documents disponibles. Notre méthode, empruntée aux musicologues Leigh Landy et Marc Battier, a consisté à rendre justice à des œuvres et à des pièces souvent traitées de façon isolée ou purement illustrative, en reconstruisant autour d’elles un récit mêlant considérations historiques, analytiques, techniques, esthétiques et culturelles. À travers cette étude, les liens qui unirent art musical, science et technologie numérique dans les années 1960 et 1970 apparaissent ainsi clairement, en renouvelant l’appréhension de répertoires basés sur le matériau sonore. / The musical repertoire generated by digital sound synthesis during the first twenty years of development of these techniques (1957-1977) had never been fully studied by musicologists, in spite of the importance of this field regarding evolution of contemporary sonic world, and the availability of numerous documents. Our method, based on Leigh Landy and Marc Battier’ideas, consisted of giving credit to pieces often dealt in an insulated or illustrative manner, by reconstructing around them a story combining historical, analytical, technical, aesthetical, and cultural elements. Thus, links that bound music, science, and digital technology in the 1960s and 1970s clearly appear, renewing comprehension of sound-based repertoires.

An analysis and explanation of my reasons for working in video, painting and drawing, and sculpture, considering the technological developments of the past decade; the possibility to use the internet as a distribution tool for works of art, and to shift the decision-making balance of the art-world; the ways that this approach is a democratic format for output in the arts and within communities of artists; an explanation of my studio practice while a graduate student at Virginia Commonwealth University.

Made available in DSpace on 2016-04-29T14:23:38Z (GMT). No. of bitstreams: 1 Clayton Policarpo Barbosa Vicente.pdf: 12052423 bytes, checksum: 41d80125cbcf32362131b71fa31cde00 (MD5) Previous issue date: 2015-09-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In every step in ways of producing language, we started to live in new communicative and cultural ecologies, that present themselves in an increased semiodiversity (Santaella, 2010, p. 63). New environments are configured, leaving sometimes to the art the role of mediating and reach new limits that broaden the understanding of the generated changes by the emerging possibilities. In order to trace reflections and propose a theoretical and methodological basis concerning the creation of the artistic narratives on digital platforms, this paper seeks, from monitoring the several steps of a developed network project, the Global Strike (globalstrike.net), to prepare a critical repertoire for analysis and creation of aesthetic manifestations that use hypermedia languages. We start from an ecological perspective, when different agents tend to be articulated in interactive processes and produce a reticular and flat organized flows. Definitions are traced that we hope to strengthen the understanding about works that are limited in such model. To clarify terms like communication s ecology and interstitial narratives, we seek to restructure concepts like author, work and observer. By the time we identify a political dimension in such experiences, as these constitute temporary practice and through heterogeneous associations / A cada avanço nos modos de produzir linguagem, passamos a habitar novas ecologias comunicacionais e culturais que se apresentam em uma semiodiversidade cada vez maior (Santaella, 2010, p. 63). Novos ambientes se configuram, cabendo por vezes à arte o papel de mediar e alçar novos limites que ampliem a compreensão das alterações geradas pelas possibilidades que emergem. Com o intuito de traçar reflexões e propor uma base teórica e metodológica acerca do modo de produção de narrativas artísticas em plataformas digitais, o presente trabalho busca, a partir do acompanhamento das diversas etapas de um projeto desenvolvido em rede, o Global Strike (globalstrike.net), elaborar um repertório crítico para análise e criação de manifestações estéticas que utilizam linguagens hipermidiáticas. Partimos de uma perspectiva ecológica, em que diferentes agentes tendem a se articular em processos interacionais e produzir fluxos reticulares e horizontalmente organizados. São traçadas definições que esperamos que fortaleçam a compreensão de obras que se circunscrevem em tal modelo. Ao elucidar termos como ecologia da comunicação e narrativas intersticiais, buscamos reestruturar conceitos como autor, obra e observador. Ao tempo que identificamos uma dimensão política em tais experiências, visto que estas se constituem provisórias e por meio de associações heterogêneas

La vision multiple et la perception simultanée d’images et d’informations sont au cœur de notre vie quotidienne ; l’omniprésence des écrans et des fenêtres, de l’espace urbain à Internet, produit une vision sur-cadrée et fragmentée du monde qui transforme notre rapport à l’image. La révolution artistique des 19ème et 20ème siècles accompagna le développement des techniques de production de l'image photographique et cinématographique manifestant une certaine préoccupation pour la décomposition du mouvement et l’échantillonnage du temps. La naissance des technologies numériques, dont le développement est intimement lié à celui des réseaux de télécommunication et notamment d’Internet, a renouvelé cette tendance en faisant de la mobilité, de la téléprésence, de l’ubiquité et de la vision simultanée les caractéristiques fondamentales de la pensée visuelle de notre époque.Les systèmes figuratifs de l’image numérique, qui héritent des techniques d’enregistrements optiques tout en y adjoignant celles de la simulation par ordinateur, inaugurent-ils une attitude différente vis-à-vis du réel ? Leur parenté avec Internet et avec les systèmes temps réels les investit-t-elle d’un autre mode d’expression temporel, qui viendrait se substituer à l’histoire de la peinture classique et tendrait à renouveler la présence performative et le direct de l’art vidéo ? C’est à travers le concept du fragment, considéré comme outil au service de l’expérimentation artistique, que cette thèse de recherche-création examine la manière dont l’image numérique animée reprend et transforme les codes de la pratique figurative en peinture et en cinéma pour organiser une nouvelle découpe de la vue et du temps. / Multiple vision and simultaneous perception of images and information are at the heart of our daily lives; The omnipresence of screens and windows, from urban space to the Internet, produces an over-framed and fragmented vision of the world that transforms our relationship to the image. The artistic revolution of the 19th and 20th centuries accompanied the development of photographic and cinematographic image production techniques, expressing a certain concern for movement decomposition and time sampling. The birth of digital technologies, whose development is intimately linked to that of telecommunication networks and especially the Internet, has renewed this trend by making mobility, telepresence, ubiquity and simultaneous vision the fundamental characteristics of the visual thinking of our time.Do the figurative systems of digital image, which inherit the techniques of optical recordings while adding those of computer simulation, inaugurate a different attitude towards reality? Does their kinship with the Internet and real time systems invest them in another mode of temporal expression, which would replace the history of classical painting and would tend to renew the performative and direct presence of video art? It is through the concept of fragment, considered as a tool in the service of artistic experimentation, that this research-creation thesis examines the way in which the animated digital image takes over and transforms the codes of figurative practice into painting and film to organize a new cut of sight and time.

Notre travail de recherche traite de la problématique d’expression de la signification et de la philosophie d’une œuvre artistique, dans une compréhension individuelle, par l’interactivité numérique de façon inconsciente. Ainsi, nous mettons en place des expérimentations d’installation artistique interactive fondées sur des analyses approfondies de l’art traditionnel, de la technologie innovante, de la philosophie, de l’esthétique et de la psychologie (notamment sur la cognition et l’inconscient). A cet effet, nous posons deux questions centrales : quelle est la relation entre philosophie et psychologie ? Comment utiliser les interactions numériques pour influencer la compréhension du participant de façon inconsciente ? D’abord, nous nous focalisons sur des recherches de l’esthétique artistique, de l’art traditionnel chinois, de sa philosophie et de la technologie numérique. Nous proposons de créer un « scénario d’interaction » pendant la conception et réalisons une installation artistique interactive concernant l’hybridation entre la philosophie « Qi » et les ondes cérébrales. L’objectif n’est pas tant d’effectuer une démonstration numérique, mais plutôt de mieux mettre en évidence les relations entre la technologie innovante, la philosophie de l’œuvre et la compréhension individuelle. Ensuite, la recherche se concentre sur la psychologie (la cognition et l’inconscient) pour réaliser une nouvelle méthode interactive : « interactivité inconsciente ». Celle-ci est mise en œuvre par une autre installation artistique interactive concernant le contrôle cérébral, la suggestion olfactive et la perception corporelle. / Our research deals with the problem of expression of meaning and artistic philosophy toward individual understanding by using, in an unconscious way, digital interactivity. Thus, we will realize some interactive art installation experiments that are based on a profound analysis of traditional art and innovative technology, as well as philosophy, aesthetics and psychology (especially on cognition and unconscious), also an analysis of unconscious and psychotherapy. We asked two central questions: what is the relationship between philosophy and psychology? How to use digital interactions to influence understanding unconsciously? For answering these questions, we focus on the expression of the artistic philosophy and individual understanding related to digital art visualization and innovative interactive technologies.First, we focus on research of the aesthetic of traditional Chinese art, traditional Chinese philosophy and digital technology. We propose to create an “interaction scenario” during conception. Otherwise, we created an interactive art installation based on the hybridization between the Qi philosophy and brain waves. The objective is not to make a digital artistic demonstration, but to better introduce the relationship between innovative technologies and philosophical understanding. Next, the research focuses on psychology (cognition and unconscious) to achieve a new interactive method named “unconscious interactivity”. This method is implemented by another interactive art installation including brain control, olfactory suggestion and body perception.