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The University of Glasgow is a registered Scottish charity: Registration Number SC004401
Updated march 2022.
The MA thesis consists of two parts, an essay and a digital project. The essay should be approximately 50+ pages, depending on the topic, and must establish:
A thesis must be fully and carefully annotated and include a substantial bibliography. Each essay must have an introduction, analysis, and conclusion.
The thesis must also include documentation of the digital/computational media component of the thesis, as well as the digital project itself. This documentation may be added as an appendix to the written essay, or contained in a thesis chapter.
Together the scholarly essay and the digital project form a final portfolio to be submitted at the conclusion of the program. As the culmination of their work, students are also expected to present their final projects formally to the Digital Art History/Computational Media Faculty and the public.
A thesis must consist of a study of some aspect of art history, material, or visual culture based on library and (where relevant) field research, and must have a substantial computational media practice component. It is not simply a description, but rather an analysis and interpretation that seeks to focus the digital contribution towards a research question that can have a public-facing component. The computational media project should help make an argument or explore a concept more effectively than a stand alone written essay. While some projects will tilt more towards academic and scholarly questions and representation, others will focus more on the technology and its affordances for an example project prototype. Thesis projects might arise out of your own previous scholarly work, current or new research, and/or as an offshoot of an existing Wired or CMAC Lab project. Collaborative elements are possible, but your thesis will be judged on your own, clearly defined written and digital contributions. Regardless of the emphasis, students are expected to do a "literature review" of the conversation they are entering in terms of prior and current approaches to their selected topic. Students may choose to use any combination of the digital tools listed at the end of this document, or additional tools with the approval of the Thesis Committee members.
A typical outline might include:
For examples of past DAH/CM MA projects, consult Proquest from the Duke Libraries website.
The thesis is an independent scholarly contribution that demonstrates the utility of computational media technologies for a historical, cultural, artistic, or social question. The student must demonstrate an ability to gather, analyze, and interpret research data using the specialized literature in the particular field of study and theoretical perspectives that are current in the research area.
The essay must conform to the criteria of the Graduate School and have been submitted within the designated time frame for a degree to be awarded in December.
Internal Program Deadlines
Graduate School Deadlines
This document must clearly state the research goals, the digital tools to be used, and provide a preliminary 1-page bibliography. Students must demonstrate that they are prepared to do the project, both in terms of content and technical expertise, and provide a preliminary outline for the paper, with a proposed timeline for completion of the different component parts. A primary advisor and possible additional committee members and advisors should be identified at this time. The schedule must be shared with the research committee and contain specific dates for completion and review, keeping in mind the overall Graduate School Calendar. See Thesis Proposal Outline for details.
In the second semester of Year 1, after the formal proposal has been revised and accepted in March, the official committee of three faculty will be established. They will both serve as advisors and will review the final project at its completion. Students are encouraged to identify and contact potential committee members during the first semester - faculty teaching topical and technical classes are likely candidates for committees, but you may also look further afield, especially for subject-area advice. Note that some faculty and staff may not be members of the graduate faculty but can serve as additional advisors beyond the core committee of three. (See the Graduate School list of Graduate Faculty to determine who is eligible to serve on your committee. You should also consult the DGS for final approval of your committee members.) The committee will meet with the candidate periodically and establish the plan for the summer research, the digital component, goals for the project, and a schedule of work until final submission. In most cases, the thesis research credits in semesters three and/or four will be taken with the primary advisor and other committee members, though students may also take or audit additional classes in the third semester if they need more credits or want to acquire additional skills.
Core topics:.
After passing to thesis and selecting a thesis committee, graduate students enroll in ART 8000 Thesis Research: Digital Art with the chair of the thesis committee. Students are expected to write an articulate proposal outlining creative, formal, and research goals for the thesis year. Their work culminates in a written thesis and a professionally mounted solo exhibition.
Elisa Fabris Valenti
En to pan from Elisa Fabris Valenti on Vimeo .
untermensch from Elisa Fabris Valenti on Vimeo .
Virtual Space & Motion builds on the 3D modeling skills developed in ART 2230 Virtual Space, bringing virtual elements into a context outside of Maya. The course focuses on group projects and honing skills in the 3D pipeline. Particular attention is placed on time-base narratives and creating digitally animated shorts using 3D graphics. Students learn about 3D painting, 3D sculpting, motion capture, particle systems, and compositing. It is highly recommended that students have a foundation in 3D modeling before taking this course. Students will examine past animators and their methods in order to inform their creative decisions and will also look at contemporary forms of animation from media, entertainment, advertising, and the fine arts. While learning about technique and craft, students will also explore the role of the virtual in society.
Digital Art Synthesis is an advanced studio focused on the completion and presentation of a large scale digital media project.
CityScape by Sean McIntosh
Jared Hornsby – WREN from Digital + Art on Vimeo .
Metamorphosis from Kevin Dupuy on Vimeo .
The Exodus from Erik Duncan on Vimeo .
ART 2220 Moving Image offers an introduction to digital video production and editing systems. Concepts covered in the course include basic compositing and motion graphics.
Ethan Casiello – Game On from Digital + Art on Vimeo .
Pierrot Lunaire #05 Valse de Chopin – Ethan Casiello from Digital + Art on Vimeo .
Kelly Kral – Baton Rouge Poverty from Digital + Art on Vimeo .
Jared Hornsby – SaySomething from Digital + Art on Vimeo .
Digital Art I introduces students to basic design principles and terminology within the digital environment. This course covers the technologies and production processes used to successfully create and complete digital art and design projects, from brainstorming of concepts, to scanning, importing, creating, printing, executing and presenting works.
Zooplankton by Ethan Engemann on Vimeo .
This course offers an introduction to modeling and animation using three-dimensional objects and spaces in a virtual environment.
This course is an introduction to methods and processes of creating motion graphics for broadcast and cinema. Students explore the relationship between still- and time-based design elements—such as type, image, composition, pacing, rhythm, sequencing, and sound—to create graphic communications. Students explore the variable of motion in a series of narrative graphic design projects that build in complexity over the course of the semester. They work in analog and digital formats, using valuable tools and software programs such as Adobe Photoshop and Adobe After Effects to create motion graphics that complement their individual aesthetic.
The Dance by Jeremy Grassman from Richard B. Doubleday on Vimeo .
Kelly Kral in Less Than A Minute by Darin Tran from Richard B. Doubleday on Vimeo .
Sweet Tooth by Christina Chang from Richard B. Doubleday on Vimeo .
ART 2382 Digital Printmaking offers an overview of digital printmaking practices, blending technological innovations with traditional printing methods. Through a structured series of projects, students work in the digital environment using Photoshop, Lightroom, and Maya, as well as other digital platforms, to generate imagery for their prints. Students work on three individual projects—one each in screen print, photo-lithography, and digital inkjet output—in preparation for a culminating project employing each of the media and technologies introduced in the course.
In ART 4391 Advanced and Alternative Digital Printmaking , students pursue experimental work in various digital print media. Building on the knowledge, skills, and imagery developed in Digital Printmaking, this course focuses on personal explorations in digital media, platform, and print output. This course is best suited to the needs of advanced printmaking and digital art undergraduate students as well as graduate students from photography and graphic design. It may be incorporated into BFA or MFA thesis projects as a corollary to focused research and practice.
In this course, students explore meaning through interactivity while pursuing independent and group projects that use digital media to create an interactive experience.
sketching abstractions from H. Cole Wiley on Vimeo .
Interactive Book from Digital + Art on Vimeo .
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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.
Terry Flaxton
As far back as the introduction of the Greek myths – and specifically that of Echo and Narcissus (where Echo is Sound and Narcissus is image) appreciation of the nature of art has been derived from archaic and classical values that promote the idea of interpretation as a meaningful metric of the value of an idea or an object. In his ‘Poetics’, Aristotle posited that diegesis (Echo) is the reporting or narration of events, contrasted with mimesis (Narcissus) which is the imitative representation of them: the distinction is often cast as that between ‘showing’ and ‘telling’. Together with discrimination and comprehension, both of these functions are part of the mechanism of interpretation. When Gutenburg created the printing press which enabled the beginnings of the mass production of text, the concept of reading and interpreting gained even greater historical purchase due to the encoding of meaning in actual objects: books. ‘Interpretation’ was given even greater power within the rise of modernism with the intervention of the Frankfurt School, which fore-grounded the idea of the ‘interpretation’ of art as meaningful and significant. Walter Benjamin reframed and reinterpreted the medieval belief of the power of the relic of the Saint in his famous question: Can the aura of the original be found within its replica? This question is even more pertinent now when art is created within the digital realm and must be reframed once again: Can the aura of the original exist at all, given there is no difference between the original and its copies? By examining new ideas of ‘entrainment’, where immersivity, resonance, synchronicity and direct response become the factors that reveal the potency of art, In this paper I re-examine how art or media events can function without dependence on the idea of interpretation.
Trends, Experiences, and Perspectives in Immersive Multimedia and Augmented Reality
Emilia Simao
In this chapter, the authors discuss the use of digital media in the creation of digital art, questioning the evolution of the relationship between technology and concept in communication through art. The intersection of new media and digital art have been opening interesting and seductive new horizons and in parallel, the concept, the understanding, the legitimacy of artistic creation, the role of the artist and the role of the spectator are also redefined. Based on two experimental works of the artist Henrique Silva, the authors analyze and reflect on the relationship of technology, art and virtuality, focusing on concepts like experience, sensory, immersion, communication and interaction in artworks created through digital media.
Handbook of Research on Computational Arts and Creative Informatics
Adérito Fernandes-Marcos
Art Beyond Digital
Dominique Moulon
Digital technology has interfered in all the spheres, private, public and professional, of our society and shaped them. Artists have always used the techniques or technologies of their time to express themselves. To each appropriated innovation thus corresponds a range of works. Yet, it takes time for the art world to integrate new practices and new media. Impatient, the most fervent advocates of digital art have structured themselves into international communities by organizing dedicated events. Their practices have now matured and the public is culturally ready to welcome their creations as it already does in festivals. At the same time, we notice the first signs of digital acceptance in art, both in institutions and in the contemporary art market.
The Encyclopedia of New Media Art: Volume 2: Artists & Practice
Mark Cypher
Digital aesthetics is characterized by a diversity of approaches that stem from the constantly evolving nature of new media and aesthetics. What qualifies as digital or its umbrella term, ‘new media technologies’, is continually changing and covers various applications and theories from art, science and industry. Aesthetic discourse is concerned with the experience of the world and its effect on the embodied subject (Karatzogianni and Kuntsman 2012). Anna Munster argues that aesthetics ‘cannot remain undisturbed by the machine’ since its influence manifests and augments itself in our perception and associated responsibilities (2006: 151). I argue that the relations inherent to the processes of new media influence, mediate and sensitize us to digital artworks and their associated aesthetic, perceptions and ethical and political affects (Felski 2020). This will require taking into account the material-discursive dimensions of digital media and how they work in relation to the generative possibilities of the body and its sensations.
Proceedings of the 5th conference on Creativity & cognition - C&C '05
Pamela Jennings
Heidegger Circle Proceedings
Roisin Lally
Screen Thought Journal
Shaun Wilson
This article will examine the changing role of digital aesthetics in art and screen in a context of Metamodernism. As the problem of a structure of feeling will be argued as lacking the formalism of its cultural predecessors, the rapid proliferation of artificial intelligence as both a creative producer and distributor will be framed as an 'autonomous other' to hypothetically attest to the defunct of human orientated born digital artefacts. As much as this proposition is akin to a re-examination of metamodernity, a proposed formalism thought of as a structure of reason is as determinant to the shaping of digital aesthetics as the deployment of opposition in an era of self-aware pictorial networks.
Ellen Harlizius-Klück
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.
Alistair Stray
My intentions on writing this essay are to create a post-structuralist framework for informing my own practice as a digital artist, filmmaker and musician. As digital space is commonly perceived as a purely symbolic space (non-material, and by extension thereby providing non-destructive transformations), it is often interpreted as being a space that provides the artist with more creative freedom, and this led me to start by exploring a nominal definition of creative freedom. Using Deleuzian terminology I go on to describe the conditions on, and the constraints that are existent on, the creative process. I then make an attempt to identify any peculiar differences that exist for an artist working within digital space, and any differences that manifest themselves in digital art forms.
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Marijke Goeting
Lumina Journal
Computers & Graphics
CLCWeb: Comparative Literature and Culture
Montse Arbelo
angi patton
Hanna Melissa Sorbito , Allana Rufo , Carla Jennidy Mallari , Maru Janben Macabontoc
Handbook of Multimedia for Digital …
Nelson Zagalo
Secretaria Ciac
in "Mimesis Journal"
Giulio Lughi
The Art Bulletin
Kate Mondloch
Editor Ijasre
roger malina
Christiane Paul
xtine burrough
Emanuele Arielli
Triyono Bramantyo
IEEE Computer Graphics and Applications
Lona Gaikis
Jonathan Hook
Fibreculture Journal
Warwick P Mules
Journal of Art & Architecture Research Studies - JAARS
Gamal Elkheshen
YLEM Journal
Loren Means
Clive Palmer (National Teaching Fellow)
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Drawing in the digital age: observations and implications for education.
2. four drawing events, summer 2018, 2.1. thinking through drawing.
The model is asked to take a very active pose for a minute or less … As the model takes the pose … you are to draw, letting your pencil swing around the paper almost at will, being impelled by the sense of action you feel. Draw rapidly and continuously in a ceaseless line, from top to bottom, around and around, without taking your pencil off the paper. Let the pencil roam, reporting the gesture. You should draw, not what the [subject] looks like, not even what it is, but what it is doing . Feel how the figure lifts or droops—pushes forward here—pulls back there—pushes out here—drops down easily there. Suppose that the model takes the pose of a fighter with fists clenched and jaw thrust forward angrily. Try to draw the actual thrust of the jaw, the clenching of the hand. A drawing of prize fighters should show the push , from foot to fist, behind their blows that makes them hurt. (ibid., p. 14–15)
2.3. space-time geometries and movement in the brain and in the arts 9, 2.4. drawing lab paris, cinéma d’été 10, 3. conclusions, 3.1. drawing in contemporary culture and education, 3.2. drawing as thinking, and drawing on the whole, 3.3. toward a comprehensive model of drawing instruction for the digital age, 3.4. “machine as artist” with implications for drawing instruction in the digital age, conflicts of interest.
1 | |
2 | ). |
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4 | . Concerning 21st century trends in drawing instruction, Associate Professor Christopher Wildrick of Syracuse University surveyed 37 US foundation programs in diverse settings: large and small institutions; public and private; universities, colleges, and designated art and design schools. He found that 35% required one drawing classes, 35% required two drawing classes, and 30% required no drawing classes (personal correspondence). Regarding the UK, I am grateful to one reviewer of this paper for highlighting “the welcome rise of drawing as an autonomous subject in the early 1990’s as a backlash to drawing endorsed as a ‘preparatory’ stage for other fine art disciplines…This led to the rise in drawing research and the first dedicated University level programs in the UK and in the Antipodes.” By contrast, the reviewer also noted that “recent government decisions have limited the access to study drawing in the UK at secondary level…” To investigate these claims, I posted an inquiry on the Drawing Research Network website which yielded information about both issues. Equally important, the chain of responses included numerous answers to my query about examples of, and reasons for the decline in drawing instruction. Many responses, primarily in the UK, confirmed the decline with information about their own programs as well as documentation of the reasons for it, including governmental policy. Others stated that drawing instruction had not declined in their institution, but several said that the number of classes varied from program to program and the way drawing was taught varied from teacher to teacher. See: Drawing Research Network: . |
5 | . |
6 | . |
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9 | . |
10 | . |
11 | . |
12 | ), and the Stanford D. (for ‘design’) School ( ), respectively, then penetrated into general education. It was the opposite for graphicacy. The concept and term came from geography education ( ) and was taken up by the field of graphic design ( ). For an overview, see: . |
13 | |
14 | ( ) For example, where more traditional drawing books, especially those used at the foundation level, allow considerable space, often several chapters, to teaching linear perspective, here this topic is addressed in one chapter, called “Antiperspective: The Triumph of the Picture Plane.” Before addressing linear perspective, the first section of the chapter covers “Contemporary Challenges to Traditional Perspective.” Following several sections on linear perspective are sections on alternative projection systems, including: Axonometric Perspective, Multiple Perspectives, and Stacked Perspective. |
15 | , juxtaposed images and artifacts from academic art training in the 17th–19th centuries and modernist art studies in the early 20th century against the work of current students and contemporary artists. Artifacts from the academic period included figure drawings, anatomical renderings, and perspective studies, as well as a cast made from a sculpture by Houdon, Écorché au bras levé (1776), one of thousands like it used by art students across the western world to study anatomy. The modernist tradition was represented by abstract geometric drawing exercises taught by Bauhaus-trained artist and teacher, Josef Albers, in the United States at Black Mountain College and Yale University ( ). Although the work of Albers and his students was itself a stark contrast to what was done in previous centuries, both parts of the historic display clearly demonstrated the rigor, relative uniformity, and explicit standards that were hallmarks of earlier art instruction. By contrast, the contemporary work reflected a vast diversity in aesthetics and media, including drawings, but also photos, videos, installations, performance art, etc. Two drawings reflect the extremes that might be found in post-modern exhibitions anywhere. One, Mladen Stilinovic’s: Bol (kriz)/Pain (cross), 1989, (‘pain’ in French means ‘bread’) is on a 20.6 by 29.2 cm sheet of rough beige-ish drawing paper (possibly newsprint), without a frame. In the middle of the page, single hand-drawn (in pencil) vertical and horizontal lines cross each other with the hand-written word ‘BOL’ inscribed at the end of each line. The other, Air d’Olympia, dit de l’automate, 2013, by Christelle Tea, is a complex and ambiguous mural-sized digital image, 3.20 m high × 8 m long, in which the subject, a female robot clothed in a plastic-looking white suit with black trim, is repetitively depicted whole and in parts in multiple poses and combinations against a black background overlaid in intricate patterns of white lines evocative either of circuitry schematics or city planning maps. The author of the catalogue ( ) says the work brings together drawing, photography, and (referring to the title) lyric singing, notably Offenbach’s “Tales of Hoffmann.” |
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Simmons, S. Drawing in the Digital Age: Observations and Implications for Education. Arts 2019 , 8 , 33. https://doi.org/10.3390/arts8010033
Simmons S. Drawing in the Digital Age: Observations and Implications for Education. Arts . 2019; 8(1):33. https://doi.org/10.3390/arts8010033
Simmons, Seymour. 2019. "Drawing in the Digital Age: Observations and Implications for Education" Arts 8, no. 1: 33. https://doi.org/10.3390/arts8010033
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Home > Fine Arts and Communications > Visual Arts > Theses and Dissertations
Theses/dissertations from 2014 2014.
A Maoli-Based Art Education: Ku'u Mau Kuamo'o 'Ōlelo , Raquel Malia Andrus
Accumulation of Divine Service , Blaine Lee Atwood
Caroline Murat: Powerful Patron of Napoleonic France and Italy , Brittany Dahlin
.(In|Out)sider$ , Jarel M. Harwood
Mariko Mori's Sartorial Transcendence: Fashioned Identities, Denied Bodies, and Healing, 1993-2001 , Jacqueline Rose Hibner
Parallel and Allegory , Kody Keller
Fallen Womanhood and Modernity in Ivan Kramskoi's Unknown Woman (1883) , Trenton B. Olsen
Conscience and Context in Eastman Johnson's The Lord Is My Shepherd , Amanda Melanie Slater
The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner , Katie Janae White
Women and the Wiener Werkstätte: The Centrality of Women and the Applied Arts in Early Twentieth-Century Vienna , Caitlin J. Perkins Bahr
Cutting Into Relief , Matthew L. Bass
Mask, Mannequin, and the Modern Woman: Surrealism and the Fashion Photographs of George Hoyningen-Huene , Hillary Anne Carman
The End of All Learning , Maddison Carole Colvin
Civitas: A Game-Based Approach to AP Art History , Anna Davis
What Crawls Beneath , Brent L. Gneiting
Blame Me for Your Bad Grade: Autonomy in the Basic Digital Photography Classroom as a Means to Combat Poor Student Performance , Erin Collette Johnson
Evolving Art in Junior High , Randal Charles Marsh
All Animals Will Get Along in Heaven , Camila Nagata
It Will Always Be My Tree: An A/r/tographic Study of Place and Identity in an Elementary School Classroom , Molly Robertson Neves
Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess , Katelyn McKenzie Sheffield
Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop , Kathryn C. Smurthwaite
Documenting the Dissin's Guest House: Esther Bubley's Exploration of Jewish-American Identity, 1942-43 , Vriean Diether Taggart
Blooming Vines, Pregnant Mothers, Religious Jewelry: Gendered Rosary Devotion in Early Modern Europe , Rachel Anne Wise
Rembrandt van Rijn's Jewish Bride : Depicting Female Power in the Dutch Republic Through the Notion of Nation Building , Nan T. Atwood
Portraits , Nicholas J. Bontorno
Where There Is Design , Elizabeth A. Crowe
George Dibble and the Struggle for Modern Art in Utah , Sarah Dibble
Mapping Creativity: An A/r/tographic Look at the Artistic Process of High School Students , Bart Andrus Francis
Joseph as Father in Guido Reni's St. Joseph Images , Alec Teresa Gardner
Student Autonomy: A Case Study of Intrinsic Motivation in the Art Classroom , Downi Griner
Aha'aina , Tali Alisa Hafoka
Fashionable Art , Lacey Kay
Effluvia and Aporia , Emily Ann Melander
Interactive Web Technology in the Art Classroom: Problems and Possibilities , Marie Lynne Aitken Oxborrow
Visual Storybooks: Connecting the Lives of Students to Core Knowledge , Keven Dell Proud
German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars , Allison Slingting
The Influence of the Roman Atrium-House's Architecture and Use of Space in Engendering the Power and Independence of the Materfamilias , Anne Elizabeth Stott
The Narrative Inquiry Museum:An Exploration of the Relationship between Narrative and Art Museum Education , Angela Ames West
The Portable Art Gallery: Facilitating Student Autonomy and Ownership through Exhibiting Artwork , Jethro D. Gillespie
The Movement Of An Object Through A Field Creates A Complex Situation , Jared Scott Greenleaf
Alice Brill's Sao Paulo Photographs: A Cross-Cultural Reading , Danielle Jean Hurd
A Comparative Case Study: Investigation of a Certified Elementary Art Specialist Teaching Elementary Art vs. a Non-Art Certified Teacher Teaching Elementary Art , Jordan Jensen
A Core Knowledge Based Curriculum Designed to Help Seventh and Eighth Graders Maintain Artistic Confidence , Debbie Ann Labrum
Traces of Existence , Jayna Brown Quinn
Female Spectators in the July Monarchy and Henry Scheffer's Entrée de Jeanne d’Arc à Orléans , Kalisha Roberts
Without End , Amy M. Royer
Classroom Community: Questions of Apathy and Autonomy in a High School Jewelry Class , Samuel E. Steadman
Preparing Young Children to Respond to Art in the Museum , Nancy L. Stewart
DAY JAW BOO, a re-collection , Rachel VanWagoner
The Tornado Tree: Drawing on Stories and Storybooks , Toni A. Wood
IGolf: Contemporary Sculptures Exhibition 2009 , King Lun Kisslan Chan
24 Hour Portraits , Lee R. Cowan
Fabricating Womanhood , Emily Fox
Earth Forms , Janelle Marie Tullis Mock
Peregrinations , Sallie Clinton Poet
Leland F. Prince's Earth Divers , Leland Fred Prince
Ascents and Descents: Personal Pilgrimage in Hieronymus Bosch's The Haywain , Alison Daines
Beyond the Walls: The Easter Processional on the Exterior Frescos of Moldavian Monastery Churches , Mollie Elizabeth McVey
Beauty, Ugliness, and Meaning: A Study of Difficult Beauty , Christine Anne Palmer
Lantern's Diary , Wei Zhong Tan
Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes , Shelley Williams
A Call for Liberation: Aleijadinho's 'Prophets' as Capoeiristas , Monica Jayne Bowen
Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste" , Kiersten Claire Davis
Dairy Culture: Industry, Nature and Liminality in the Eighteenth-Century English Ornamental Dairy , Ashlee Whitaker
Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum , Laura Paulsen Howe
And there were green tiles on the ceiling , Jean Catherine Richardson
Four Greco-Roman Era Temples of Near Eastern Fertility Goddesses: An Analysis of Architectural Tradition , K. Michelle Wimber
The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour , Megan Marie Collins
Fix , Kathryn Williams
Ideals and Realities , Pamela Bowman
Accountability for the Implementation of Secondary Visual Arts Standards in Utah and Queensland , John K. Derby
The Artistic and Architectural Patronage of Countess Urraca of Santa MarÃa de Cañas: A Powerful Aristocrat, Abbess, and Advocate , Julia Alice Jardine McMullin
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Modern Art 2021 90 Pages In this thesis, the digital museum experience is researched in the context of a development project for EMMA — Espoo Museum of Modern Art. The purpose of the case project was to design a concept for a digital museum service, which operates as an online platform that publishes content about contemporary art.
This article forms a descriptive study of the presence of digital art, which has been signi ed by. three extraordinary occurrences, i.e., the presence of the world of art as based on Virtual ...
A thesis submitted for the degree of Master of Arts (Ma) in Art Law and Arts Management January 2022 Thessaloniki - Greece . ... Digital art, usually, tend to be used to provoke a critical point of view for all these alterations in our lives that technology generated, but sometimes it also explores all the ...
This dissertation thesis is about the impact of globalization and digitalization on the art system. It will refer to the Internet's history, focusing on the art world and how this ... technology may be the solution in digital art forgery, reinforcing the art market' s power. Keywords: digitalization, globalization, art market, social media ...
This non-traditional multimedia thesis, rooted in. interactive and graphic design, explores the cultural contributions of contemporary public art. ... Digital art as public art is a means of generating new forms of artistic creation, appreciation, and consumption (Zhou, 2021). Today's culture mostly revolves around data, including texts,
4.3.1 AI and Digital Art. In this result analysis, the responses from both the survey and the interview will be included. The survey response will be analyzed first to provide a framework and source of support for the interview response. The interview will provide the majority of the detailed data.
This thesis presents an empirical investigation of the problems of including pictorial digital art in the context of Digital Libraries (DLs). The rational for this work is that digital art material is a significant source of learning and research, provided that it is systematically collected and maintained in structured electronic repositories.
BENEFITS AND BARRIERS OF DIGITAL PORTFOLIOS IN ART EDUCATION A Thesis Presented to the Faculty of the School of Art and Design East Carolina University ... Digital art portfolios are difficult to use..... 48 . 23. Word cloud of art teacher interviews ...
After passing to thesis and selecting a thesis committee, graduate students enroll in ART 8000 Thesis Research: Digital Art with the chair of the thesis committee. Students are expected to write an articulate proposal outlining creative, formal, and research goals for the thesis year. Their work culminates in a written thesis and a ...
Over the past decade, a number of researchers have proposed definitions of Digital Art History (DAH) as a subfield of the Digital Humanities (DH) with special concerns. Murtha Baca and Anne Helmreich, for instance, define DAH in terms of five different facets: collections/image digitization projects, the development of computational tools, the ...
The Melancholy of Misunderstanding: An analysis of Marcel Duchamp's Effects on the Development of Art in Conversation with Contemporary Artist Urs Fischer, Elizabeth Chander. PDF. Revisiting Appropriation in Contemporary Art: Art and Law Analysis, Won Sun Choi. 1. 2.
This paper describes the recent developments in the use of digital media in the research process. It concentrates on the use of these media in practice-based PhD research in Art & Design, drawing ...
2023, Erasmus University Rotterdam. This thesis aims to investigate how the incorporation of digital technology in art education, impacts the learning and overall experience of art students. The study focuses on the implementation of new digital technologies in art education, as directed by the national cultural policy of the Netherlands.
This thesis presents an empirical investigation of the problems of including pictorial digital art in the context of Digital Libraries (DLs). The rational for this work is that digital art material is a significant source of learning and research, provided that it is systematically collected and maintained in structured electronic repositories.
Criteria for MA Thesis, Digital Art History/Computational Media updated March 2022. The MA thesis consists of two parts, an essay and a digital project. The essay should be approximately 50+ pages, depending on the topic, and must establish: the scholarly question; the historiography of the topic
After passing to thesis and selecting a thesis committee, graduate students enroll in ART 8000 Thesis Research: Digital Art with the chair of the thesis committee. Students are expected to write an articulate proposal outlining creative, formal, and research goals for the thesis year. Their work culminates in a written thesis and a ...
This is an interesting collection of essays that ranges across a variety of topics relevant to the development of digital art. The essays tend to introduce a theme, and then an extended survey of some of the artists /theorists who have contributed to it. The present study, in contrast, tries to offer a more selective focus on individual figures ...
This paper looks at recent examples of how drawing is advancing into the digital age: in London: the annual symposium on Thinking Through Drawing; in Paris: an exhibition at the Grand Palais, Artistes et Robots; a conference at the Institut d'études avancées on Space-Time Geometries and Movement in the Brain and in the Arts; and, at the Drawing Lab, Cinéma d'Été. These events are ...
thesis may not similarly 'move' the reader, but to allow digital modes afford arts students the possibility of choosing the best language to promote artistic contemplation. The real benefit of digital thesis, apart from the mere practicality of being able to use multiple modes of communication, is the way in which the reader or audience can
Digital expression of pop art in art design. Master's thesis of Shandong Institute of Arts and crafts, 2017 ... Even while trendy gallery-like screening rooms of new video and digital art flourish ...
Theses/Dissertations from 2013. PDF. Women and the Wiener Werkstätte: The Centrality of Women and the Applied Arts in Early Twentieth-Century Vienna, Caitlin J. Perkins Bahr. PDF. Cutting Into Relief, Matthew L. Bass. PDF. Mask, Mannequin, and the Modern Woman: Surrealism and the Fashion Photographs of George Hoyningen-Huene, Hillary Anne Carman.
RSU Digital Collection; คณะดิจิทัลอาร์ต Faculty of Digital Art Community home page. Browse. Collections in this community. DIA-Research. DIA- ComArt-M-Thesis. Discover. Author. 1 Fang Taoyuan; 1 Gomesh Karnchanapayap;