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Digital art refers to any artistic work or practice that uses digital technology as part of the creative or prestation process. It can also refer to computational art that uses and gages with digital media.
Lillian Schwartz's Comparison of Leonardo's self-portrait and the Mona Lisa is based on Schwartz's Mona Leo. An example of a collage of digitally manipulated photographs
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John Whitney, a pioneer of computer graphics, developed the first computer-gerated art in the early 1960s by utilizing mathematical operations to create art.
Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Cter, New York, in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color by using flood fills.
Digital art can be purely computer-gerated (such as fractals and algorithmic art) or tak from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings wh created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas.
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Amidst varied opinions on the pros and cons of digital technology on the arts, there seems to be a strong conssus within the digital art community that it has created a "vast expansion of the creative sphere", i.e., that it has greatly broaded the creative opportunities available to professional and non-professional artists alike.
Digital visual art consists of either 2D visual information displayed on an electronic visual display or information mathematically translated into 3D information viewed through perspective projection on an electronic visual display. The simplest is 2D computer graphics which reflect how you might draw using a pcil and a piece of paper. In this case, however, the image is on the computer scre, and the instrumt you draw with might be a tablet stylus or a mouse. What is gerated on your scre might appear to be drawn with a pcil, p, or paintbrush. The second kind is 3D computer graphics, where the scre becomes a window into a virtual vironmt, where you arrange objects to be "photographed" by the computer. Typically 2D computer graphics use raster graphics as their primary means of source data represtations, whereas 3D computer graphics use vector graphics in the creation of immersive virtual reality installations. A possible third paradigm is to gerate art in 2D or 3D tirely through the execution of algorithms coded into computer programs. This can be considered the native art form of the computer, and an introduction to the history of which is available in an interview with computer art pioneer Frieder Nake.
To create three-dimsional objects and sces for use in various media such as film, television, print, rapid prototyping, games/simulations, and special visual effects.
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There are many software programs for doing this. The technology can able collaboration, lding itself to sharing and augmting by a creative effort similar to the op source movemt and the creative commons in which users can collaborate on a project to create art.
Pop surrealist artist Ray Caesar works in Maya (a 3D modeling software used for digital animation), using it to create his figures as well as the virtual realms in which they exist.
Computer-gerated animations are animations created with a computer from digital models created by 3D artists or procedurally gerated. The term is usually applied to works created tirely with a computer. Movies make heavy use of computer-gerated graphics; they are called computer-gerated imagery (CGI) in the film industry. In the 1990s and early 2000s, CGI advanced ough that, for the first time, it was possible to create realistic 3D computer animation, although films had be using extsive computer images since the mid-70s. A number of modern films have be noted for their heavy use of photo-realistic CGI.
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Mainly refers to the process of creating paintings on computer software based on computers or graphic tables. Through pixel simulation, digital brushes in digital software (see the software in Digital painting) can imitate traditional painting paints and tools, such as oil, acrylic acid, pastel, charcoal, and airbrush. Users of the software can also customize the pixel size to achieve a unique visual effect (customized brushes).
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Since their design in 2014, some artists have created artwork using a gerative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate.
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It is usually used to let the computer find the best solution by itself. It can be used to gerate pictures that have visual effects similar to traditional fine art. The esstial idea of image gerators is that people can use text descriptions to let AI convert their text into visual picture contt. Anyone can turn their language into a painting through a picture gerator.
And some artists can use image gerators to gerate their paintings instead of drawing from scratch, and th they use the gerated paintings as a basis to improve them and finally create new digital paintings. This greatly reduces the threshold of painting and challges the traditional definition of painting art.
Gerally, the user can set the input, and the input contt includes detailed picture contt that the user wants. For example, the contt can be a sce's contt, characters, weather, character relationships, specific items, etc. It can also include selecting a specific artist style, scre style, image pixel size, brightness, etc. Th picture gerators will return several similar pictures
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Gerated according to the input (gerally, 4 pictures are giv now). After receiving the results gerated by picture gerators, the user can select one picture as a result he wants or let the gerator redraw and return to new pictures.
In both 1991 and 1992, Karl Sims won the Gold Nica award at Prix Ars Electronica for his 3D AI animated videos using artificial evolution.
In 2009, Eric Millikin won the Pulitzer Prize along with several other awards for his artificial intelligce art that was critical of governmt corruption in Detroit and resulted in the city's mayor being st to jail.
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In 2018 Christie's auction house in New York sold an artificial intelligce work, "Edmond de Bellamy" for US$432, 500. It was created by a collective in Paris named "Obvious".
In 2019, Stephanie Dinkins won the Creative Capital award for her creation of an evolving artificial intelligce based on the "interests and culture(s) of people of color."
Also in 2019, Sougw Chung won the Lum Prize for her performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung.
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In 2022, an amateur artist using Midjourney won the first-place $300 prize in a digital art competition at the Colorado State Fair.
Also in 2022, Refik Anadol created an artificial intelligce art installation at the Museum of Modern Art in New York, based on the museum's own collection.
In contemporary art, the term digital art is used primarily to describe visual art that is made with digital tools, and also is highly computational, and explicitly gages with digital technologies. Art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statemt about the art form.
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Digital installation art constitutes a broad field of activity and incorporates many forms. Some resemble video installations, particularly large-scale works involving projections and live video capture. By using projection techniques that hance an audice's impression of ssory velopmt, many digital installations attempt to create immersive vironmts. Others go ev further and attempt to facilitate a complete immersion in virtual realms. This type of installation is gerally site-specific, scalable, and without fixed dimsionality, meaning it can be reconfigured to accommodate differt prestation spaces.
Noah Wardrip-Fruin's "Scre" (2003) is an example of interactive digital installation art which makes use of a Cave Automatic Virtual vironmt to create an interactive experice.
Scott Snibbe's "Boundary Functions" is an example of augmted reality digital installation art, which response to people who ter the
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