How Art Improved Digitally

Art

2D and 3D graphics – digital graphics, as a rule, created using computer graphics editors in two or three-dimensional virtual space. Includes digital painting, digital sculpture, digital photography. Separately, I would like to mention such a direction as Pixel Art.

It is Pixel Art that is considered truly labor art in digital art, despite the endless possibilities of today’s computers, tablets, and smartphones.

They started talking about computer graphics after the experiments of Jay W. Forrester, an engineer in the computer laboratory of the Massachusetts Institute of Technology in 1951. The forerunners of computer images include his first unpretentious pictures of dots and letters, obtained on telegraph teleprinters, and later on printing devices connected to computers.

Video mapping (3D-mapping) is a video projection onto a physical object of the environment (buildings, structures, landscape elements), taking into account its geometry and location in space. The more monumental the structure, the more ghostly it becomes from special effects and optical illusions. Projections create the feeling that objects glow from the inside and live their own lives, changing their shape, size, and their very essence. Over the past 10 years, the method has firmly established itself in the entertainment industry, despite the fact that it was demonstrated to the general public back in 1969 in the United States by Walt Disney at the opening of a new attraction.

Live Video Art (VJ) – the creation of visual works in real-time, a high-tech and emotional fusion of manual work and complex algorithms – from simple video accompaniment to music to deep non-linear stories. The essence of this approach is the development and playing of the emerging images “here and now”, a momentary ephemeral journey according to the feelings of the audience; Vijing techniques and techniques are scattered from computer games to arthouse cinema. Most of all, this movement has taken root in clubs and at festivals, but the best examples have been accepted with honor in the academic environment of museums and galleries.

Generative design is an approach to the design and design of a digital product (website, image, melody, architectural model, detail, animation, etc.), in which a person delegates part of the processes to computer technologies and platforms.

Unlike traditional design and design tools, generative systems semi-autonomously create solutions, which changes the nature of human interaction with the system: a program is no longer a tool, but a full-fledged participant in the creative process, a “partner”.

Data Art is the visualization of large amounts of information, their presentation in a visual balanced form that allows (literally) to capture with a glance both the general structure and the nuances of biological objects, physical phenomena, and processes. Starting with applied problems, it has grown into an independent movement with its own aesthetics, dictating rules, and more classical approaches.

Of course, everything is not limited to the visual part.

Interactive art involves the viewer as a full partner in the work. Human intuitive interaction with techno attractions can be much more engaging than the most sophisticated screenplays. The simplest example: the Greek artist Petros Vrellis has developed an application, by installing which, the user gets the opportunity to change the painting by Van Gogh “Starry Night” – to set the strokes in a different direction, add lighting or musical accompaniment, etc.