Counter Hegemony of Cultural Art Innovation against Art in Digital Media

Digital Art and Crowd Creation in Iran (Case Study: Tehran Annual Digital Art Exhibition)

This paper aims to show the status of digital art in Iran and explain how the meaning of an artist has transformed in the digital age. The primary assumption of this paper is that the experience of digital art has again revived the collective experience in creating arts. Although, interactivity is considered to be the most important quality of digital art, their collective, collaborative and pr...

Digital Media and Art: Always Already Complicit?

Storytelling: From Cave Art to Digital Media

O nce upon a time, about 6,000 years ago, early tribesmen drove a herd of gazelles into a dead-end canyon in Syria and slaughtered them. All that remained for modern anthropologists were bones from the animals’ lower limbs.1 A copious amount of meat must have been harvested and rapidly consumed—perhaps as part of a religious ceremony with numerous participants—given that era’s lack of refrigera...

The Media Art Notation System: Documenting and Preserving Digital / Media Art

This paper proposes a new approach to conceptualizing digital and media art forms. This theoretical approach will be explored through issues raised in the process of creating a formal declarative model (alternately known as a metadata framework, notation system, or ontology) for digital and media art. The approach presented and explored here is intended to inform a better understanding of media...

Advances in Digital Imaging for Fine Art and Cultural Heritage

Digital imaging techniques have been applied to fine art and cultural heritage for decades. Due to continuing advances in technology and increases in funding, the application of digital imaging and digital reproduction to fine art and cultural heritage has recently exploded. To simplify the discussion of digital fine art, this paper will sub-divide digital imaging into five segments: digital im...