Digital Doubles

Digital Art through the Looking Glass: New strategies for archiving, collecting and preserving in Digital Humanities, 2019

With contributions by: Frieder Nake, George Legrady, José R. Alcalá Mellado /Beatriz Escribano Belmar, Anne-Marie Duguet, Howard Besser, Giselle Beiguelman, Wendy Coones, Sarah Kenderdine, Marianne Ping-Huang, Raphael Lozano Hemmer, Annet Dekker, Janina Hoth, Laura Leuzzi, Diego Mellado, Oliver Grau, Goki Miyakita/Keiko Okawa, Sabine Himmelsbach, Francesca Franco, Patricia Falcão. Digital art challenges archiving, collecting and preserving methods within and outside of gallery, library, archive and museum (GLAM) institutions. By its media, art in the digital sphere is processual, contextual, modular and ephemeral, and its creative process is collaborative. From artists, scholars, technicians and conservators – to preserve this contemporary art is a transdisciplinary task. This book brings together leading international experts from digital art theory and preservation, digital humanities, collection management, conservation and media art histories. In a transdisciplinary approach, theoretic and practice-based research from these stakeholders in art, research, education and exhibition are presented to create an overview of present preservation methods and discuss demands and opportunities for the future. Finally, the need for a new appropriate museum and archive infrastructure is shown to preserve the art of our time.

2019

This research seeks to better understand the position of the contemporary stage phenomenon 'The Digital Double' within the theories of Antonin Artaud. This phenomenon can be defined as; the mediated form, or presence, of a physical performer, generated upon the stage. Within the context of this study 'The Digital Double' has existed as an infrared generated digital entity. This investigation has been undertaken utilising the methodology of Practice as Research and has accumulated a number of performative artefacts prominently featuring the use of 'The Digital Double' in order to establish a tacit understanding of the theories of Artaud. I shall be drawing upon interviews conducted with the performers and in order to enrich my understanding of the interactive process within their experience performing alongside 'The Digital Double'. The practical research of this thesis has been contextualised alongside a thorough examination of Artaudian literature; scenographic theory and the work of fellow practitioners of interactive technology. I have also carried out a brief examination of the Alchemical philosophy in order to elicit a greater understanding of the inspiration of Artaud.

2013

Electronic Workshops in Computing, 2010

Electronic Visualisation and the Arts London 2010 (EVA 2010) is co-sponsored by the Computer Arts Society and BCS, The Chartered Institute for IT, of which the Computer Arts Society is a specialist group. Since 1992, the EVA conference series has established itself as a natural home from which to explore the richly interdisciplinary and constantly evolving world of digital visualisation. Nothing illustrates this more than the great scope, depth and diversity of the papers contained within this year's Proceedings. The latest research in digital arts and new media are explored, with contributors ranging from established scholars to the new generation of research students who will lead the field tomorrow. Conference papers cover reconstructive archaeology, virtual museology, digital arts concepts and practice, immersive environments, and digital performance and music. Editors Alan Seal has recently worked as Head of Records and Collections Services in the Victoria and Albert Museum where he was responsible for the photographic services and archive in the museum and the automation and digitisation of the collections. He was previously head of collections management in the National Art Library in the V&A. A librarian by training, he is particularly interested in user interfaces and online public access systems, both textual and multi-media. He has undertaken research into bibliographic standards in information systems and online library catalogues during a period at the Centre for Catalogue Research at the University of Bath.

Abstract: The conception and development of information-communication technologies had a strong impact on the sphere of art in XX century. Art experts make attempts to analyze modern tendencies in the development of artistic process dynamic. Over the last years, we had published works in which a lot of attention was paid to the issues of mutual influence and interdependence of technological novices and art. The author considers the peculiarities of impact of Motion Capture technology on the dynamic of development of artistic process in film art.

Leonardo, 2002

2018

This international workshop aims to advance the contemporary discussion of Digital Humanities. It will offer to the academic and museum community – as well as to interested guests – the opportunity to learn more about some of the newest digital tools used by researchers. It will also present a significant number of innovative projects related to the research program ART-ES: Appropriations and Hybridizations of Visual and Performing Arts (https://artes.hypotheses.org/).

JÓVENES EN LA CIENCIA, 2018

The recourses that electronics provide at this time are expansive, so using this as a medium provides artists with seemingly unlimited opportunity to create works of art. However, there is also a lack of research that provides artists with the basic knowledge to utilize electronics. This limits what artists are able to accomplish to a basic level of manipulation instead of expanding upon the seemingly infinite capabilities of the hardware and software of electronic devices. To delve into the creation of digital art, Anya Quenon explored the option to code her art in Processing. Through this medium, she focused on remaining true to her identity as an artist while uncovering the capabilities of electronics as a way to create art. The basis behind this path provides insight into not only the abilities of coding to create art, but also a deeper understanding of the holistic process of creating electronic art.

Electronic Workshops in Computing, 2009

Electronic Visualisation and the Arts London 2009 (EVA 2009) is co-sponsored by the Computer Arts Society and the British Computer Society, of which the Computer Arts Society is a specialist group. Since 1992, the EVA conference series has established itself as a natural home from which to explore the richly interdisciplinary and constantly evolving world of digital visualisation. Nothing illustrates this more than the great scope, depth and diversity of the papers contained within this year's Proceedings. The latest research in digital arts and new media are explored, with contributors ranging from established scholars to the new generation of research students who will lead the field tomorrow. Conference papers cover reconstructive archaeology, virtual museology, digital arts concepts and practice, immersive environments, and digital performance and music. Editors Alan Seal has recently worked as Head of Records and Collections Services in the Victoria and Albert Museum where he was responsible for the photographic services and archive in the museum and the automation and digitisation of the collections. He was previously Head of Collections Management in the National Art Library in the V&A. A librarian by training, he is particularly interested in user interfaces and online public access systems, both textual and multi-media. He has undertaken research into bibliographic standards in information systems and online library catalogues during a period at the Centre for Catalogue Research at the University of Bath. Suzanne Keene's background is in large-scale collection management in museums, including digital technologies. At University College London, she directed the MA in Museum Studies. She has recently completed a large research project investigating the uses of museums' stored collections. www.ucl.ac.uk/storedcollections

Electronic Workshops in Computing, 2013

Over almost two decades, the EVA London conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdom's most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse range of interests with a specialised focus on visualisation. EVA London 2013 presents a wide spectrum of papers, presentations, demonstrations, an exhibition, and a research workshop. It is a forum where the sciences, arts, humanities and performance are equally at home. EVA London 2013 presents 66 papers and abstracts from 15 countries, by researchers inside and outside academia, from graduate artists, PhD students, seasoned industry professionals, established scholars and senior researchers, who value EVA London for its interdisciplinary community. This year, the conference features three keynote speakers: Prof. Steve DiPaola from Simon Fraser University (Canada); Prof. Linda Candy from the University of Technology (Australia); and Don McIntyre from the Glasgow School of Arts (United Kingdom). The proceedings has resulted from a highly selective peer review process, fitting as many excellent submissions as possible into the limited timetable of the conference. The papers cover digital culture and creativity, museum studies, digital enhanced reality, computer arts, 3D modelling, emotion, haptic, mobile, cross-media, multimodal interactivities and performances, as well as many other interdisciplinary areas. EVA London is part of a larger network of EVA international conferences. In the past twenty years, EVA events have been held in Athens,