ИННОВАЦИИ В ЦИФРОВОМ ИСКУССТВЕ: СОЧЕТАНИЕ ТЕХНОЛОГИИ И ИСКУССТВА

Purpose. To serve as a reference for the evolution of the online digital art display industry, as well as to conduct further studies in the field of digital entertainment art in the showcase design business in order to give solid evidentiary assurances, this article presents a virtual reality which is a technology reality-based digital media art exhibition design with the goal of examining the new construction trend of online media art with in context of existing period and the use of sophisticated technology. Implications. This paper enriches the theory, skills, and means of digital cultural communication, opens up a broader space and vision for digital media art communication, enriches the communication skills and means of digital media, and provides flexible and efficient ideas and methods for the dissemination of digital media art, which is of practical significance for realizing the active and effective dissemination of digital media art. Methodology. The method of this paper is to use the digital three-dimensional panorama technology of virtual reality to explore the digital media art display and digital media art expression form of augmented reality. The role of these methods is to solve the problem of spatial positioning of virtual 3D objects in real scenes and to judge the final detection model, the problem of model making to satisfy AR computing power, and the problem of scene interaction. Research Findings. Through a mix of digital content artwork and virtual reality and augmented reality technologies, this research examines the impact of AR and VR in digital art and analyzes and summarizes a series of design strategies for digital media art display projects. The results show that people are 33.6% more satisfied with VR and AR displays than traditional displays.

This article describes the advances in the genealogy of digital media art in Indonesia. The evolution of digital art or works of digital art is inseparable from the growth of the art itself. This article chronologically describes the development of art in Indonesia, from the starting point of the advancement of art in the Dutch colonial era to digital art. The method used in this study is a digital meta-analysis with an exploratory qualitative approach-data collection technology by observing digital metadata to develop media and participatory art in the Indonesian art community. The result is technology-based art (digital art). This article is the essential concept and idea of today's digital artists, with works of art not just produced in the platform or digital format. Creating a work of art using the concept of digital thinking as a form of artistic appreciation is the basis for making a digital work of art. Digital media art is the foundation of thinking, thinking, and interaction. This modern society is shifting toward society 5.0. In conclusion, the development of the Indonesian digital art community resulted in an extraordinary digital revolution in Indonesia. By placing 'digital' and 'revolution' into a critical perspective. The digital artist community continues to produce technology-based artworks to communicate their work to the public by holding art exhibitions for Indonesian artists as a collective social movement with digital platforms.

From prehistoric cave paintings to contemporary digital creations, art has been integral to human expression throughout history. Digital art in modern art gradually includes various forms, such as Painting, sculpture and animation, using technology as its medium. Digital art includes any artistic work using digital technology, including Painting, 3D modelling, and interactive installations. It combines human creativity with computer technology, expanding the possibilities of creative expression. Studying digital artistry in India provides insights into cultural preservation, technological innovation, and social commentary. It promotes educational development and economic opportunities, contributing to the country's vibrant artistic scene. Technological advancements have democratized digital art creation in India, leading to diverse artistic expressions. Integrating digital art with emerging technologies like AR, VR, and NFTs opens up new possibilities for artistic exploration and dissemination. Digital art techniques include digital Painting, vector art, and 3D modelling, facilitated by hardware such as graphics tablets and software such as Adobe Creative Cloud. Brushes, textures and plugins enhance the creative process, while photo manipulation and 3D sculpting provide new avenues for artistic expression. Digital artistry in India offers insights into cultural dynamism, technological innovation and artistic development. This research paper delves into the evolving landscape of digital artistry in India, exploring various techniques, trends, and the socio-cultural impact of digital art in the country.

This paper examines the dynamic convergence of technology and artistic expression, highlighting how new digital tools and platforms have reshaped creativity, communication, and cultural production. By tracing historical shifts from traditional to media-based and digital art forms, it examines how emerging technologies like artificial intelligence, augmented reality, virtual reality, and interactive media are influencing contemporary artistic practices. Artists and technologists are collaborating to blur the boundaries between creator and audience, digital and physical, real and virtual. Topics covered include digital and web-based art, the role of artificial intelligence in creation, social media’s impact on art distribution, the emergence of NFTs, and interactive installations that engage audiences in novel ways. Through these lenses, the study discusses the philosophical, technical, and social implications of a technologically mediated artistic future. The paper concludes by emphasizing the importance of interdisciplinary dialogue in shaping a more inclusive and innovative arts ecosystem. Keywords: Digital Art, Artificial Intelligence, Augmented Reality, Virtual Reality, Interactive Installations, New Media, Social Media.

The objectives of the research are: (1) to study the images, events of fairy tales and legends, (2) to study creative design of artworks from fairy tales, (3) to present paintings for digital distribution and literacy. This study is a qualitative research. A qualitative study is conducted using multiple regions of Chinese fairy tales and legends as the research object. The research data are collected through relevant literature, related books and research papers. The research tools include survey method, observation method, interview method and focus group discussion to collect data and information. The population and sample of the study consisted of 40 people, and the data are analyzed using concepts and theories. The results of the research are presented through descriptive analysis. The results of the research are as follows: Firstly, to study the origin, background and development of Chinese fairy tales and legends; images and events. Secondly, to analyze the characteristics, styles, and techniques of expression of Medieval painting art; artists and works of Medieval painting art, applying them to the creative design of artworks. As well as analyzing and applying the concepts of Digital media art and Digital illustration design. Finally, combining the integration of Digital media technology and art, presenting fairy tales and legends through Digital art, and dissemination of innovative paintings on electronic media and literacy. In conclusion, the combination of Chinese fairy tales and legends and Medieval painting art can produce a unique visual language and visual effect in Digital art. This application makes Chinese fairy tales and legends easier to understand and appreciate, and expands the inheritance and dissemination of Chinese fairy tales and legends.

As digital technology continues to evolve, the fusion of traditional cultural heritage with digital media art design has emerged as a crucial demand and innovative mode of expression. Within the context of digital art leadership, this study delves into the contemporary reinterpretation of traditional rural culture. By examining how rural traditional culture is portrayed under the guidance of digital art, we use the digital culture museum—which embodies both digital and rural traditional cultures—as a case study. A specifically designed questionnaire was employed to assess the effectiveness of this modern reinterpretation. Subsequently, key indicators influencing the efficacy of the contemporary translation of rural traditional culture were identified. The fuzzy set qualitative comparative analysis was utilized to conduct group analyses, aiming to delineate the pathways that could enhance the contemporary reinterpretation of rural traditional culture. The findings reveal that rural traditional culture, under the stewardship of digital art, achieves a more effective modern reinterpretation. Notably, over 85% of respondents exhibited a positive response to the amalgamation of digital art with traditional culture in museums, expressing a preference to engage with traditional cultural content through this medium. The analysis of pathways to enhance the modern translation of rural traditional culture showed overall consistency and coverage rates of 0.921 and 0.695, respectively. The integration of tradition with modernity, alongside enhanced interactivity and participation, are identified as pivotal elements in augmenting the modern reinterpretation of rural traditional culture.

This chapter studies the concept of sustainable artistic practices in the digital era, emphasizing the environmental, social, and economic dimensions of sustainability. It explores the shift from traditional art to digital platforms driven by technological advancements, examining how the digital art space—particularly NFTs, virtual exhibitions, and online galleries—can either promote or hinder sustainability. Key discussions include the environmental impact of digital versus traditional art production, the role of digital art in fostering social inclusivity and global participation, and the economic sustainability challenges faced by artists monetizing digital works. The chapter provides recommendations on adopting eco-friendly technologies, fostering community engagement through digital platforms, and developing fair economic models to support artists. The conclusion calls on artists, institutions, and policymakers to collaborate in building a more sustainable future for the digital art world.

As technology changes, virtual reality generates realistic images through computer graphics and provides users with an immersive experience through various interactive means. In the context of digitalization, the application of VR for digital media art creation becomes a normalized method. Today's digital media art creation is closely related to vigorous technological innovation behind it, so the influence of modern technology is inevitable. Virtual reality and artificial intelligence have gradually become the main technical means in line with the development aim for digital media art creation. This work proposes an art object detection method AODNET in virtual reality digital media art creation with AI. Aiming at the particularity of object detection in this direction, an art object detection strategy based on residual network and clustering idea is proposed. First of all, it uses ResNet50 as backbone, which deepens network depth and improves the model feature extraction ability. Second, it uses the K-means++ algorithm to perform clustering statistics on the size of the real annotated boxes in the dataset to obtain appropriate hyperparameters for preset candidate boxes, which enhances the tolerance of the algorithm to the target size. Third, it replaces the ROI pooling algorithm with ROI align to eliminate the error caused by the quantization operation on the characteristics of the candidate region. Fourth, to reduce the missed detection rate of overlapping targets, soft-NMS algorithm is used instead of the NMS algorithm to post-process the candidate boxes. Finally, this work conducts extensive experiments to verify the superiority of AODNET for object detection in virtual reality digital media art creation.

In order to extract the image path of traditional cultural and creative items, we set the binary image target of such products to be black and the backdrop to be white in this research. We followed the use of image vectorization processing technology. In order to address the issue of edge jaggedness in the traditional cultural and creative product image path extraction process, polygonal contour fitting is utilized to optimize the image paths of these products, resulting in the creation of a vector map of these products. The PCA point cloud alignment technique is used, based on the vector map of traditional cultural and creative products, to identify the attributes of these items and build a model of their traditional cultural and creative product design that incorporates digital art. After choosing dependent and independent variables, traditional cultural and creative product design, including digital art aspects, is studied and analyzed using linear quantile regression. The findings demonstrate that all of the value-added ratio’s coefficients are significant and bigger at the 0.2 and 0.95 quantile points, suggesting that raising the ratio can aid in the merger of digital art and more established creative and cultural sectors. The medium (M=3.586) and small standard deviation of the traditional cultural and creative items incorporating digital art suggest that the use function and cost-effectiveness of these products have a stronger influence on purchase motivation. This research encourages the fusion of digital art components with conventional cultural and artistic output in order to give traditional culture a fresh lease of life in the information era.

Technological developments in today's world, which has made significant breakthroughs towards digitalization thanks to the electronics and computer revolution, are in many areas from science to art; it gives us new opportunities for research, application and experience. Virtual Reality (VR) technology is one of these advanced technological advances that offer new possibilities to dozens of areas. VR technology completely cuts off communication with the outside world (with concrete reality) and offers its user the new reality claim through the representation of virtuality ( numeracy). Today, virtual reality applications have started to be used in many different areas from education to entertainment sector. The concept of art, which has the desire and potential to make use of the technological possibilities of its period as much as possible throughout history, has not been indifferent to the accelerated and increasing development of VR technology. In particular, digital art has started to benefit from the great potential offered by VR technology, where it captures a new application area and a new experience management, in terms of art production and presentation. This article, written in the light of the information mentioned, is a research study on the possibilities that VR technology offers to today's digitalized art. Within the scope of the study, current infouts are made through examples of artistic application on the field mentioned and focus on the potential for use of SG technology in the artistic production process and the contributions it brings to the field of art. Keywords: Virtual reality, digital art, cyber space, technology and art

In Dismantling the Patriarchy, Bit by Bit, Judith K. Brodsky makes a ground-breaking intellectual leap by connecting feminist art theory with the rise of digital art. Technology has commonly been considered the domain of white men but—unrecognized until this book—female artists, including women artists of color, have been innovators in the digital art arena as early as the late 1960s when computers first became available outside of government and university laboratories. Brodsky, an important figure in the feminist art world, looks at various forms of visual art that are quickly becoming the dominant art of the 21st century, examining the work of artists in such media as video (from pioneers Joan Jonas and Adrian Piper to Hannah Black today), websites and social networking (from Vera Frenkel to Ann Hirsch), virtual and augmented reality art (Jenny Holzer to Hyphen-Lab), and art using artificial intelligence. She also documents the work of female-identifying, queer, transgender, and Black and brown artists including Legacy Russell and Micha Cárdenas, who are not only innovators in digital art but also transforming technology itself under the impact of feminist theory. In this radical study, Brodsky argues that their work frees technology from its patriarchal context, illustrating the crucial need to transform all areas of our culture in order to achieve the goals of #MeToo, Black Lives Matter (BLM), and Black and Minority Ethnic (BAME) representation, to empower female-identifying and Black and brown people, and to document their contributions to human history. This book is about how women and gender variant digital artists are transforming technology under the impact of feminist theory. It documents the history and contemporary practice of such artists in one volume for the first time and shows how they have made significant contributions to the aesthetic and practice of digital art and have altered digital technology itself. The 1960s and 1970s generation of feminist artists re-purposed traditional art disciplines seeking out new art forms to express women’s experience. In looking at the history of digital technology and art through the lens of feminism, feminist art theory played an important role in the development of digital artmaking and helped to free digital technology from the limitations imposed by its patriarchal origins and transforming it into an accessible way of apprehending the world for people everywhere. Feminism evolved in the 1960s and 1970s among mostly white, heterosexual and lesbian women to accord women parity with men. Postcolonialism, queer, and critical race theory recognized feminism as a social justice movement but transformed it to become inclusive of gender fluidity, race, power, and oppression in general. It became an intersectional movement and is used as such in this book. Although rejecting patriarchal binary definitions of gender, this book restores women digital artists to their rightful place in history, covering artists globally and from underrepresented groups, a broad range of disciplines including video, animation, design, kinetic sculpture, 3-D computer modeling, painting, installation, performance, hypertext literature, virtual and augmented reality, and public art. The artists are innovators in interdisciplinarity, working with sound as well as visual imagery, breaching the barrier between high art and popular visual culture, creating video games and working with community organizations, transforming digital technology into a more human mode of communication.

Digital artists with motor impairments in their upper limbs face considerable barriers to accessibility when using drawing tools. Our work aims to investigate the complex relationship between digital artists’ creative processes and their accessibility challenges. We conducted 15 interviews with artists who use input devices to make digital art, analyzing their accessibility challenges for producing digital artwork. We reviewed how effective the solutions are in diminishing the impact on their creative processes and identifying design opportunities for the research community. Using thematic analysis, we look at the challenges participants reported in their artistic production, including managing pain, discomfort, and injuries alongside workarounds. Secondly, the artists reported the complexities of managing internal and external perceptions. Lastly, the ways creative processes are impacted by the accessibility challenges and solutions related to their upper limb motor impairments. We discuss research directions which can better address the impact of accessibility challenges on creative processes, the balance of creative agency over tools, and design insights for more accessible artistic technologies.

Introduction Despite the expansive and multimodal realm of Chinese Boys’ Love (BL) culture (also known as danmei in Chinese), audio works have been notably absent from scholarly discussions, with the focus predominantly being on novels (e.g. Bai; Zhang). This article aims to fill this gap by delving into the transformative impact of sound on narrative engagement within the Chinese BL culture. Focussing on the audio drama adaptations of Grandmaster of Demonic Cultivation (modao zushi, hereafter Grandmaster), originally a serialised Chinese BL novel, this analysis aims to unravel the meticulously crafted BL fantasy in these auditory renditions. The audio drama format delivers an intimate storytelling experience directly to the listener’s ears. Unlike textual media, audio dramas allow listeners to immerse themselves in narratives during various daily activities, deepening their connection with the content. The audio drama Grandmaster, produced by the renowned Chinese platform MissEvan, has garnered a vast fan base and over 640 million plays across three seasons (the episodes and numbers of plays can be found on MissEvan: Season 1, Season 2, and Season 3). Unlike the serialised Web-drama adaption diluted by censorship regulations, the audio drama retains the utmost BL fidelity to the original novel, highlighting the significant potential of this medium in the Chinese BL culture. BL culture has surged in popularity within China, partly due to the export of Japanese culture and the burgeoning Chinese Internet accessibility (Feng). The BL genre encompasses diverse media forms such as novels, fanfiction, comics, animation, and audio/Web dramas, rooted in shared fantasies of romantic love between men. The growing interest in BL culture reflects a response to societal structures like Confucianism and the oppressive education system, which, due to their restrictedness, inadvertently foster the exploration of alternative narratives and identities within the genre (Kwon). While initially inspired by Japanese subculture, Chinese BL has evolved under diverse global influences, including American and other Asian subcultures (Lavin et al.). Chinese BL narratives delve into themes of identity, sexuality, power dynamics, and societal norms, reflecting a rich blend of modern and traditional Chinese culture (Madill and Zhao). Moreover, the rise of BL fandom has empowered female readers to engage in questions about gendered politics, questions that enable them to turn a voyeuristic gaze upon men (Zhang). The versatility of Chinese BL media reflects not only the evolving nature of the genre but also its enduring appeal and cultural significance within contemporary Chinese society. This article initiates a concise review of audio drama in China and the transformative impact of earphone technology, shifting listening experiences from public to intimate settings. It subsequently explores the intricate interplay between Chinese BL novels and audio dramas, elucidating the unique dynamics involved. The analysis then examines specific scenes from Grandmaster, providing insights into its role in facilitating a mesmerising BL audio fantasy. Grandmaster, originating as an Internet novel, has gained a dedicated following. MissEvan, recognising its potential, secured copyrights and commissioned Triones Penguin Studio for a radio drama adaptation in Mandarin. This full-cast dramatisation involves skilled editors, playwrights, and composers, thereby enriching character portrayals and interactions. The professional teamwork and meticulous oversight at each production stage guaranteed regular updates and high audio quality (Shao). Despite the collaborative nature of teamwork, I argue that the power of sound technology personalises the auditory journey as it creates an immersive experience for individual listeners. My analyses mainly rely on research involving actual listeners, along with examinations of specific content within Grandmaster with an idealised listener in consideration, to elucidate the factors contributing to its auditory allure. This examination contributes to a nuanced understanding of Chinese BL culture and its constitutive relationship to audio. From Public Broadcasting to Intimate Voicing: Audio Drama in China Radio broadcasting in China, with roots dating back to the early twentieth century, initially served as a propaganda instrument for mass mobilisation and communication. Chinese storytelling, rooted in acoustics, emphasises the sensory appeal of sound (Chan). It intertwines oral and written traditions in classical literature, particularly fiction and drama (Børdahl). Local vernaculars commonly feature in oral storytelling traditions, whereas Chinese radio programs adopt Mandarin to foster a cohesive national identity via linguistic uniformity. The Communist Party tactically expanded its audience through a radio reception network, establishing a wired broadcasting infrastructure with over 100 million loudspeakers by the 1970s. This revolutionised politics, everyday life, and perceptions of time and space (Li). The interplay between radio and social change reflected China’s pursuit of modernity, as the Communist Party utilised radio to institute a national communication system and monopolise news production. Radio thus served as a crucial tool for constructing and sustaining revolutionary fervor (Lei; He). Radio dramas, often cross-media adaptations from edited films in the 1970s, contributed to everyday sensory pleasure amidst a totalising revolutionary soundscape (Huang). The growth of radio and loudspeaker infrastructure played diverse roles in the revolution, fostering political communication, labour mobilisation, propaganda, surveillance, and even nurturing the Mao cult, turning radio drama into a potent tool for mass mobilisation and communication (Li). As a result, before the widespread availability of televisions in the 1990s, radio structured Chinese people’s daily activities and served as the primary information medium. Technological advancements in earphones, transitioning from larger wired headphones to smaller wireless earbuds like AirPods, have shifted auditory experiences in China from a collective identity tool used in political propaganda to a medium for individualistic entertainment. This change is marked by the personal nature of headphone usage, which can extend social interactions in and beyond physical dimensions (Grusin). The transition from wired headphones to wireless earbuds implements the interiorisation of one person’s body/voice within another, initiating a profound connection that transcends physical limitations (Stankievech). Since 2018, wireless earbuds have exceeded wired headphones in output value in China (Insight and Info), with the online audio market surging to 22 billion yuan in 2021, a 67.9% increase year-on-year. Audiobooks and audio dramas are the most popular genres, with a predominantly female audience under forty who prefer listening at night after work (iimedia). Among audio dramas, BL works generate the most traffic and revenue in China (Y. Wang). Along with such content, putting wireless earbuds inside the ear intensifies the intimacy of listening, transmitting voices directly into the listener’s head and sitting alongside their thoughts (Weldon). This physical closeness underscores the exclusive bond between the listener and the audio content, redefining oral narratives and transforming public and political audio content into a more personal and intimate medium. The use of wireless earbuds even extends listening beyond mere auditory experience, empowering haptic sensations that create an intimate bond. The acousmatic voice envelops the listener’s ears, establishing a connection even before the message’s content is considered (Madsen and Potts). The ear’s sensitivity prompts consciousness and memory, unlocking the imaginative world (C. Wang 91-94). This sensory engagement surpasses traditional auditory limits, resembling a physical encounter where listeners feel like their body has joined with the body of sound. Dermot Rattigan, discussing radio drama, notes how listeners fill the void with mental visualisations and imagination, entering a state of individual ‘virtual reality’ through aural stimulation (Rattigan 118). Drawing from visual psychology, Shaffer likens the soundscape to a dynamic landscape painting, emphasising the fluidity of auditory experiences (Schafer). Listening becomes a multi-dimensional journey involving the entire body and mind, a compelling tool for reception and connection that transcends reality’s boundaries. The advent of MP3 technologies and the podcasting boom also extends the former spatial and temporal limitations of listening. In contrast to traditional real-time broadcasting, MP3 technologies enable voices to persist indefinitely into the future (Madsen and Potts). This temporal flexibility further builds a private sound sphere for listeners (Euritt). Listeners no longer need to share time and space with others around loudspeakers or radios, so they can freely indulge in their subcultural preferences, such as BL stories, without concern for societal judgment. Many listeners strategically incorporate audio dramas into their daily schedule, choosing moments of solitude such as before sleep or upon waking, where they can detach from the expectations of their physical space and identity roles. This is particularly evident among devoted fans of Chinese BL audio dramas, who carve out personal time for these works and seek a quiet space for focussed engagement (Wang 55). This intentional, focussed engagement differs from the typical mode of everyday radio listening as it serves an expanded, widespread dissemination environment that is also highly intimate (Madsen and Potts). Thus, the convergence of temporal flexibility and immersive technology shapes listener engagement and interaction dynamics. The fusion of intimacy, physical closeness, and te

This contribution explores concepts, approaches and technologies used to make urban public spaces more playful and artful. Through a variety of compelling narratives involving play and art it assists in the design of new cyberparks, public spaces where digitally mediated interactions are an inherent part. How can play and interactive art be used to strengthen urban public spaces by fostering citizen engagement and participation? We propose to not only utilise interactive media for designing urban (public) spaces, but also for social innovation for the benefit of citizens. in cyberparks. The contribution connects urbanity, play and games, as well as concepts of active and passive interactive digital art as part of trends towards pervasive urban interaction, gameful design and artification. We position this as an important part of developing human-centred smart cities where social capital is central, and where citizens engaging in play and art are prerequisites for sustainable communities. Using art, play and games to foster citizen engagement and collaboration is a means to develop social technologies and support the development of collective intelligence in cyberparks. This is studied in concrete cases, such as the Ice Castle in Luleå, Sweden and the Ars Electronica in Linz, from a multi-disciplinary stance involving interaction design, digital art, landscape design, architecture, and health proficiencies. We will analyse two cases of gameful design and one case of digital interactive art being used to address urban issues. Rezone the game is an interactive multimedia game developed to tackle vacancy in the city of Den Bosch in the Netherlands. The Neighbourhood is a board game developed to involve various stakeholders in making their neighbourhood using water as a collective resource.

Starting in the 20th century, with the acceleration of technological developments, the increasing use of technology, and the change in social structures due to the computer or the internet, there has been a transition to the so-called 'technological age', or 'digital age'. With these technological developments, the products of the 'individual', whose perception has changed, define the past, culture, and future through art in order to exist in the society that surrounds it, to sustain its existence, and to internalize the culture of the society. Digital art is located at the intersection of culture, art, media, contemporary art, digitalization, and technology. Digital art enables both visual thinking and software skills to be learned together. At the same time, the process of creating dynamic images using digital applications requires a multifaceted design phase. Through digital art, the viewer who examines the work of art has become active. Digital art transforms the traditional understanding of art and changes the way artworks are created and experienced. By interacting with the artwork, viewers have become active participants and users of artwork. In the digital age, the exhibition of art on digital platforms enables art to reach wider audiences. This situation has made participants/users eager to visit. In addition, digital museums and digital exhibitions are attracting a lot of attention and their number is increasing every year. Digital art therapy is a rapidly growing practice in recent years. With the opportunities brought by the digital age, digital art brings along a new search for aesthetics and meaning in the art world. In this research, the concept of digital art in the digital age and the works published in this field are examined as an area that has been widely discussed and attracted attention in recent years. This research aims to contribute to the field by focusing on digital art, digital museums and digital exhibitions. In addition, in order to make the existing publications visible, the texts will be visualized to make them more effective for the reader.