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A study of digital technology and the contemporary type of artistic works

Works are created by people moving through laser beams or from data gathered on air pollution Russian artist Dmitry Morozov has devised a way to make pollution beautiful. Who would have heard of Andy Warhol without silkscreen printing?

Arts Organizations and Digital Technologies

The truth is that technology has been providing artists with new ways to express themselves for a very long time. Yes, an original version of Pong is there, presented as lovable antiquity.

But the show also features a wide variety of digital artists who are using technology to push art in different directions, often to allow gallery visitors to engage with it in a multi-dimensional way. The inclination for most people is to work alone, but the shapes they produce tend to be more fragile. But wait, these are very responsive tubes, bending and moving and changing colors based on how they read your movements, sounds and touch.

Digital art

The immersive artwork, developed by a design group called Minimaforms, is meant to provide a glimpse into the future, when robots or even artificial pets will be able to read our moods and react in kind. Come back the next day and it will look at least a little different. The creation of artists Julian Adenauer and Michael Haas, the Vertwalker—which looks like a flattened iRobot Roomba —is constantly overwriting its own work, cycling through eight colors as it glides up vertical walls for two to three hours at a time before it needs a battery change.

The beauty of dirty air Morozov built a device, complete with a plastic nose, that uses sensors to gather pollution data.

The Serious Relationship of Art and Technology

Then, he headed out to the streets of Moscow. The sensors translate the data they gather into volts and a computing platform called Arduino translates those volts into shapes and colors, creating a movie of pollution. As irony would have it, the dirtier the air, the brighter the image. Exhaust smoke can look particularly vibrant.

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He starts by drawing an intricate design, then meticulously cuts out the many shapes that, when layered over one another, form a 3-D version of his drawing. One of his windows might comprise as many as 100 laser-cut sheets stacked together.

One night last year, a laser they mounted on a crane atop a moving train projected images, topographical maps and even lines of poetry into the dark Southern California countryside. The installation is a giant triptych, and gallery visitors can stand in front of each of the screens. That, according to Milk, represents the moment of creative inspiration.

  • The possibility to greatly expand and create a more diverse audience is very exciting because traditionally our audience has been older and whiter than the area we live in;
  • I believe that audiences will continue to have shorter and shorter attention spans and will insist upon being able to use smartphones and other devices in the context of a performance;
  • People will have higher expectations for a live event;
  • The public expects content to be free;
  • Art Project began with 17 museums in 2010, and today has 500 institutions in 60 countries, and 7.

In the second, the shadow is pecked away by virtual birds diving from above. That symbolizes critical response, he explains. And that, says Milk, captures the instant when a creative thought transforms into something larger than the original idea.