Did you hear about the AI artwork made with Midjourney that won an art prize? This begs a few questions: Is the creator really a digital artist? Or is he a curator? Perhaps he's just a guy who wrote prompts for an AI image machine and entered an art competition?
Whatever you think of an AI-generated image winning a digital art prize, it's undeniable that artificial intelligence is making an impact on the art world.
But AI is only one facet of the digital art scene, which is growing and becoming increasingly populated with creators from all walks of life (and artificial life, as we've seen above). We’re investigating how AI affects artists, the true value of NFTs, the potential for 3D and holographic art in the 21st century, and other technologies for creative work.
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Artists have embraced computer technology ever since it became available in the 1950s, and upon taking a closer look, you'll realize that computer art is not as new as you might think.
A few notable creative technologies preceded the digital age and impacted the trajectory of artistic work. It's interesting how artists have used these pre-digital technologies to make artwork, and how many of these analog technologies were later translated into a digital format.
Technological advancements have invariably led to new developments in art and design. Throughout the ages, artists have always been interested in new ways to make images and express how they see the world. New technologies also help artists to be more productive and accurate image makers.
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Three of the earliest analog optical devices used by artists are the camera obscura, camera lucida, and phenakistoscope, which are predecessors to photography and animation.
A device used since classical times (as far back as the 4th century), the camera obscura was a pinhole camera that could take up an entire room. It was used to project a scene onto a surface so the artist could copy it. Later, photography introduced a mechanical way for the artist to capture images in a box (sounds a lot like a computer, right?).
The camera lucida was a device with either a mirror or a prism inside that enabled the artist to look down on their drawing surface and see the scene in front of them simultaneously. It allowed the artist to draw perspective and proportions more accurately. Camera lucidas are still available today but are less popular than in the early 1800s when the device was first patented.
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Phenakistoscopes and related optical devices, such as stroboscopes and zoetropes, were invented in the 1830s to create the illusion of movement through the rotation of a series of drawings. Stereoscopes, the early versions of 3D imaging, were also invented in the 1830s.
We should also not forget the printing press, a paradigm-shifting pre-digital technology that made the mass reproduction and dissemination of text and images more accessible (sounds a lot like the internet, right?). Printing led to new modes of artistic expression, such as printmaking, illustration, book design, and graphic design.
Even though these are all analog technologies, it's clear that they paved the way for later digital devices that would solve the same "Jobs To Be Done" using computer chips and software programs.
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Live-action movies have existed since before animated feature films. A live-action film is one where camera footage is mixed with animation to tell a story.
A key concern or technique in twentieth-century Modern and Conceptual Art was the "removal of the artist's hand, " which is the concept of removing the traces of authorship and originality that make artworks so valuable and exclusive. Marcel Duchamp was one of the first artists who displayed "readymade" objects as artworks.
Many mid-twentieth-century art movements, such as Pop Art, became obsessed with the mass production and consumption of products, either completely rejecting this socio-economic crisis or buying into it.
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In both cases, the use of new technologies for making contemporary art was explored and led to artists increasingly using machines and manufactured products to make art.
Two of the earliest examples of pre-digital computer art are the computer-generated motion graphics that John Whitney Sr. made with old WWII Turing machines in the 1950s and the "machine drawings" that artist Desmond Paul Henry produced using WWII bombsight analog computers. Whitney became a film and advertising motion graphics pioneer, and Henry's machine-made drawings won him an art prize in 1961 that launched his artistic career.
Digital art defines a broad field of activity, such as digital photography, digital imaging, digital animation, and computer interactivity. Digital art is variably referred to as electronic art, computer art, computational art, new media art, multimedia art, internet art, digital installation art or immersive art, CGI (computer-generated graphics), and digital illustration.
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Let's discuss some of the most important developments in digital art history that have brought us to where we are today. It's awe-inspiring to see how digital art and design have changed how we create, experience, share, and buy artwork.
One field that has become synonymous with digital art is graphic design. Before the advent of design software, graphic designers worked with printing presses, type-setting machines, paper, ink, glue, and paint.
One of the first recorded instances of vector art drawn on a screen was seen in a surprising and top-secret place in the mid-1950s: a diagnostic program developed by IBM and MIT for SAGE (Semi-Automatic Ground Environment) - a multi-billion dollar US Air Force computer system that was developed to intercept potential Soviet attacks. When the diagnostic ran successfully, a line drawing of a pin-up girl would display on the CRT screen.
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However, the first complete design software was a program called Sketchpad, written by pioneering computer scientist Ivan Sutherland in 1963. Sutherland was inspired by the Memex concept described by Vannevar Bush in 1945, a digital file-sharing system that we now know as the Internet.
Sketchpad formed part of Sutherland's PhD at MIT and showed how human-computer interaction (HCI) could be used for digital art and technological purposes. The user could draw on the computer interface using a light pen - yep, digital pens came before computer mice!
His program is seen as the ground-breaking predecessor of CAD software and object-oriented programming. Even in 1987, the computer scientist and Apple Fellow Alan Kay (formerly Xerox PARC and Atari, later Walt Disney Imagineering and HP) said Sutherland's work was probably the most important thesis ever done. At that time (25 years later), Kay said it was still impossible to find something as good as Sketchpad on the market.
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Sutherland's work also impacted another important invention, the On-Line System (NLS), a collaborative computer system developed by Douglas Engelbart at Stanford University's Augmentation Research Center with support from the US Air Force and NASA. It was famously presented at "The Mother of All Demos" video conference in 1968.
Kay and his teams saw the development of the first font editor, painting programs, easy-to-use desktop computers, animations that were precursors to video games, multiple windows GUI (graphical user interface), and simple object-based programming languages. The most remarkable part about Kay's research and work is that his teams tested and created their computers with the help of children, teaching them to code their programs in the Smalltalk coding language he created.
Richard Williams, an electrical engineering faculty member at the University of New Mexico, created a computer program he called ART1 in the same year Engelbart presented the NLS (1968). His computer program was specifically made for artists to create artworks using computers and dot-matrix printers without needing to code. One of the artists that used ART1 (and later co-developed ART2) was Katherine Nash.
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. The Paintbox was a drawing surface that enabled the user to draw computer graphics directly onto the television screen without transferring it to another medium, such as film. Hockney has continued making the most of digital technology for his art, later using a Wacom tablet and an iPad to create digital paintings.
"There is no distance between you and the mark being made... It doesn't exist in any other form... that's the medium you're drawing with essentially: light on glass."
Quantel Paintbox was also used in combination with the Bosch FGS-4000 hardware and 3D animation graphics program to create innovative computer-generated graphics for the music video of
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The researchers at Bell Telephone Laboratories (Bell Labs for short) made many discoveries that led to the increased use of computers for communication and art. One of these researchers, A. Michael Noll, was already experimenting with making digital images and animations in 1962. He exhibited his computer artwork alongside fellow Bell Labs researcher Bela Julesz in 1965.
At the intersection of science, maths, philosophy, and art, Frieder Nake and Georg Nees also held an exhibition of their computer art in 1965. Credited as two of the first artists to create algorithmic art, Nake and Nees produced automatic computer-generated drawings using programming and flatbed plotters. Plotters were large drawing machines that could accurately create maps and technical drawings.
(1968), an important show in the UK and USA that helped spread ideas and images of computer art in the 1960s. The exhibition, curated by art critic Jasia Reichardt, led to the formation of the Computer Arts Society in Britain and
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