Digital Artworks Research Articles

World Art Market: Realities and Trends

The purpose of the article is to reveal the main components that led to the success of sales of digital and classical artworks through the analysis of current realities and trends in the global art market. To provide buyers (collectors), sellers, investors of artworks with a general picture of the development of the contemporary art market. The research methodology is based on the application of a systematic approach to the study of the art market of digital and classical artworks on the analysis of aggregate methods, in particular: art historal, analytical, empirical, historical, comparative, synthesis, and modelling. The scientific novelty lies in the use of digital platforms in sales in the global art markets, the peculiarities of conducting virtual auctions for sales using digital technologies. This has led to an increase in sales of digital and classical works of art in the art market. The practical recommendations to all players (buyers (collectors), sellers, and investors of the contemporary art market of artworks are proposed. Conclusions. Consequently, the emergence of a digital art market for the sale of artworks in a new virtual environment has led to a tenfold increase in the number of artists whose works have been presented on the global art market and who are currently actively participating in auction sales. Today's paculiarities include the commercialisation of the art market and the transition from classical art to Contemporary Art as the main trend and sales leader. The value of works sold by coontemporary artists reaches billions of dollars and is constantly growing. Despite the popularity of digital platforms with the ability to preview works of art through online viewing rooms (OVRs), many buyers and sellers still seek to participate in the sale directly and return to traditional offline events. This is especially true for the wealthiest private collectors who want to see an object for which they need to pay a significant amount of money. Sales trends in global art markets show that digital artworks cannot replace artworks on traditional media. Key words: virtual environment, information technology, NFT, blockchain, digital art, digital art market, cryptocurrency, transactions, digital platforms, contemporary art, trends, traditional media.

Redesigning Museum Display Models in The Context of Digitalization

After decades of digital tide washing the world, even one of the most sacred existences in human life, art, has to go through evolution and make some adaptions. The materials used in artists' creations, the artworks' presence in time and space as objects, and the economic properties of art have all been changed drastically as a response to the rapidly growing cybernetic world. An increasing number of digital artworks show up on the internet every day, whether they are the documentation of physical artworks in the real world or completely digital pieces that only live in the cybernetic world. Accordingly, the relationship between the online audience and digital works has completely changed their interactions. Museum professionals, public audiences, educators, and so many other roles in the art-viewing activity are having mixed opinions about dealing with art in virtual spaces. They need a more accurate understanding of the meaning and value of the artworks they are viewing. Therefore, how to apply digital media technology to facilitate a better creative experience between viewers and digital physical artworks will be a very important and challenging issue. This paper firstly explains the definition and development history of digital museum exhibition; secondly analyzes the current research status of digital museum exhibition technology and its application areas at home and abroad; then discusses the factors affecting the audience's viewing behavior from the user's perspective, namely: human psychological factors (including cognitive factors, emotional factors, motivation), environmental factors (including social and cultural factors, natural environmental factors); finally The construction method of the virtual exhibition system based on the concept of interaction design is discussed in combination with the above two aspects, and the model can effectively improve the audience's visiting experience through examples.

Retracted: Innovation and Research of Digital Artwork Design Based on Big Data and Integrated Media

Retracted: Innovation and Research of Digital Artwork Design Based on Big Data and Integrated Media

Dispute Resolution for Non-Fungible Token (NFT) Businesses in Indonesia

This research examines dispute resolution in Indonesia relating to Non-Fungible Token (NFT) trading digital artworks such as drawings, photographs, paintings, animations, unique collections, music, animated videos, original works of art or works that are still in physical form can be converted into digital works due to piracy, plagiarism, mutilation of works of art and then marketed in digital form. This study aims to analyze the settlement of Non-Fungible Token (NFT) trade disputes for digital artworks. The methodology used in this study uses a normative juridical method. Normative juridical research is legal research that places law as a building system of norms. The results of the study explain that there is a legal vacuum in Indonesia relating to the settlement of disputes over Non-Fungible Token Trade (NFT) digital artworks.

The Development Status and Countermeasures of Digital Media Art

This paper discusses the definition and characteristics of the art of digital media, introduces the application fields of digital media, and analyses the current situation faced by digital media art: the development of digital media art is facing the problem of rapid technological update and short life cycle; the knowledge and technology threshold of digital media art is high; the protection and inheritance of digital media art works have also attracted attention; the commercialization of digital media art is also an urgent problem. The commercialisation of art is also a problem that needs to be solved urgently. Finally, a series of countermeasures are proposed: the government and academic organisations should increase their support and investment in digital media art, and provide artists with a better creative environment and resources. Artists should strengthen their technical skills and interdisciplinary co-operation in order to adapt to new technologies and creative demands. Relevant departments should also strengthen copyright protection and market supervision to provide a good environment for the commercialisation of digital media art.

Thematic Construction of Digital Visual Arts: Implications for Digital Pedagogy

This paper attempts to describe the signifier choice of student artists in thematic representations of digital visual arts and determine its implications for digital pedagogy. Utilising a qualitative approach to research and covering a corpus of six digital artworks of student artists, the semiotic analysis utilising Peirce’s (1991) sign modes showed the student artists’ preference for mostly indexical and symbolic signifiers in thematic representations of Filipinos’ resiliency to the pandemic. This signifier choice of student artists was influenced by their experience, family, self, other artists, and their initiatives for finding information and drawing inspiration from online sources, as revealed in the conducted Focus Group Discussion (FGD) with the participants. Moreover, the individual interviews with the participants demonstrated that the student artists’ choice of signifiers served as a vehicle for expression, representation, and impression of ideas, themes, and abstractions dominating their artworks. This study calls for the integration of digital artmaking tools into pedagogy to provide opportunities for artistic expression and support diverse representation. Teachers can introduce various digital tools and platforms, create assignments that encourage creative experimentation, and foster a safe and inclusive classroom environment. Future research could explore the practical applications of digital pedagogy in visual arts education.

NFTs and the Danger of Loss

This research contributes to the discussion around the importance of the long-term preservation of non-fungible tokens (NFTs) and minted digital artworks. The paper is based on a review of the literature on blockchain in art and heritage management and conservation, with particular attention to references related to the production, marketing, maintenance, and distribution of NFT-based digital art. The aims of this paper involve anticipating potential problems in the oversight of NFTs and setting out good long-term management principles and practices as well as specific preservation strategies. Despite the fact that it also discusses issues over authorship, copyright, creative commons, and open access, the paper is particularly devoted to raising concerns about the high energy consumption associated with blockchain technology and its impact on climate change. It also highlights how the preservation of NFTs cannot be neglected, despite the belief that they last forever. Most studies dedicated to analysing the impact of blockchain technology on the cultural heritage sector ignore the most important issue: preserving not only the minted digital artworks themselves but also the respective blockchain networks. Overall, this paper seeks to foster a collective awareness of the need to reflect on blockchain-related art practices and their implications for the long-term protection of cultural property.

End-to-End Artworks Generation Via Deep Convolutional Based Generative Adversarial Networks

While artificial intelligence (AI) technologies are used in many fields such as health, education, art and continue to develop rapidly, emerging artificial intelligence solutions are also being addressed by different disciplines, such as informatics and law. Apart from the problems of legal rules' having access to the speed of social change, the search of a legal infrastructure that is suitable for keeping up with these changes has started to make itself felt in recent years. In the study, the technical stages of digital artworks created by using contentious producer networks from deep learning algorithms were discussed and evaluated within the scope of intellectual and artistic works law. In the study, 6989 abstract and portrait paintings, which are a subset of the Wiki-Art dataset, were used. As a result, it has been seen that the number of images in the dataset affects the originality of the outputs. It is thought that the proposed method can be applied to different branches of art and can give art lovers a different perspective.

Exploring the Digital Creative Product Design of Luoshan Shadow Based on Non-Fungible Tokens

The popularity of Non-fungible Tokens is reshaping the Internet, digital assets and content. Many cultural sectors worldwide have switched and proposed using NFT technology to enhance the liquidity of financialised art assets. Numerous companies are trying to take advantage of the rapid growth of the NFT markets to increase their competitiveness. Although digital artwork provides numerous technical advantages, few design practices are available for Luoshan Shadow’s NFT virtual creative products. This study aimed to investigate the factors influencing the digital design of the Luoshan shadow by NFT technology. We conducted a thematic analysis of the comments and suggestions given by designers and non-geneticists. Data of 185 designers, consumers, and non-geneticists indicated the main concerning themes; i) copyright and security issues; ii) innovation of art form and content; iii) new presentation, and iv) benefits from Non-fungible Tokens technology. These findings may provide experience for Luoshan shadow art to start the layout of digital creative design in the context of the much-needed NFT market and to organically combine its digital derivatives with physical derivatives to achieve joint development.

Rethinking Bergson's and Deleuze's Theories of Movement

Abstract Following Henri Bergson's third thesis of movement in Creative Evolution, Gilles Deleuze devotes a large section of Cinema I to applying the concept of the mobile section and the open whole to the narrative of analog cinema. By adopting a material ontological perspective and taking the disciplines of art-making into consideration, this article criticizes Deleuze's approach and proposes to rethink Bergson's and Deleuze's theories of movement in both analog cinema and digital moving images. In response to its main question, can analog and digital moving images constitute the open whole, this article examines the material degradation of film in the analog, investigates the phenomenon of morphing in the digital, and pays special attention to the real-time creation as well as the voyeuristic authorship of digital artworks.

NFTs AND COPYRIGHT LAW

NFT stands for “non-fungible token” and refers to a cryptographically protected asset that represents a unique object, work of art, real estate, ticket, or certificate. Like cryptocurrencies, each NFT contains ownership data to facilitate identification and transfer between token holders. By purchasing a token, the owner gets ownership of an asset in the digital or real world. NFTs are often minted by artists and creatives, but collectors and investors who purchase and use them may have a different perspective on who owns the copyrights to the content associated with the NFTs. Attorneys specializing in art law, although they have not yet fully explored it, are developing a familiarity with the current crypto community and future metaverse in order to understand how a public ledger registration tool has created scarcity and value for digital assets, such as digital artwork.

Manipulating Pixels in Computer Graphics by Converting Raster Elements to Vector Shapes as a Function of Hue

This paper proposes a method for changing pixel shape by converting a CMYK raster image (pixel) to an HSB vector image, replacing the square cells of the CMYK pixels with different vector shapes. The replacement of a pixel by the selected vector shape is done depending on the detected color values for each pixel. The CMYK values are first converted to the corresponding RGB values and then to the HSB system, and the vector shape is selected based on the obtained hue values. The vector shape is drawn in the defined space, according to the row and column matrix of the pixels of the original CMYK image. Twenty-one vector shapes are introduced to replace the pixels depending on the hue. The pixels of each hue are replaced by a different shape. The application of this conversion has its greatest value in the creation of security graphics for printed documents and the individualization of digital artwork by creating structured patterns based on the hue.

Understanding Intuition: Can Rapid Cognition Perform Better than Rational Thinking in Differentiating Artworks between Artist and Artistic Style Transfer

This study attempts to provide evidence that judgements based on rapid cognition can have higher accuracy than judgements based on rational thinking in particular situations. The design of the experiment was based on the previous study by Sun et al. 2022 that compared cognitive differences in artworks between artists and art style transfer. In the experiment of this paper, the stimuli were generated from 24 pairs of digital artworks done by AI and human painters respectively, and participants were asked to differentiate between the stimuli. The results indicated that participants made more correct choices when there was not enough time to process all the details than when there was enough time to consider all the evidence. This study once again demonstrates that rapid cognition holds advantages in analyzing complex information in a short period of time.

A case study of group art therapy using digital media for adolescents with intellectual disabilities.

In art therapy, digital art therapy is a new method in which clients use digital media to express themselves creatively. We wanted to explore what this means for adolescents with disabilities. The purpose of this qualitative case study was to explain what kind of experience they had when digital media was applied as an expressive and therapeutic medium in group art therapy in which adolescents with intellectual disabilities were participants and what kind of therapeutic meaning the experience had. We tried to know the therapeutic factors by extracting the implications of meaning. Participants were second-year high school students with intellectual disabilities who belonged to special classes. They were selected in an intentional purposive sampling method. Five teenagers with intellectual disabilities participated in 11 group art therapy sessions. Data were collected through interviews, observation, and digital artwork collection. Collected data were case studies analyzed using an inductive approach. In this study, the use of digital media was defined and utilized as "Digital Art Therapy" by setting the scope related to the study according to client's behavioral method. As a digital generation accustomed to smartphones, the participants gained confidence by repeatedly acquiring new technologies through familiarity with the media. Interaction with the media through touch and the use of apps have promoted autonomy with interest and pleasure to disabled teenagers, allowing them to express themselves actively. In particular, digital art therapy induces a holistic sensory experience by mobilizing visual images that could represent various expressions, emotions felt in music and tactile senses that made texts for people with intellectual disabilities with difficulty in verbal communication. Art therapy using digital media has become an important experience that provides opportunities to arouse curiosity, enjoy creative activities, and express positive emotions vividly to adolescents with intellectual disabilities who have difficulties with expression and communication and a sense of lethargy. Therefore, it is suggested that an in-depth understanding of the characteristics and differences between traditional and digital media is necessary, and that complementary use to help create therapeutic purposes and art therapy is important.

Artist's Statement: Still Life.

I always liked strawberries in pastries, in jam, or diced with mint and mixed with sparkling lemonade. Grapefruit was another favorite, topped with brown sugar and baked in halves in my third-floor apartment. Familiar and comforting, what they represented evolved with my medical training. Strawberries evoked a characteristic oral finding—swollen, hot, and alarming. Grapefruits were a stand-in for patient deltoids during vaccination training, where I learned what happens if I try to remove a needle cap like a marker. Medical education presented different contexts to ordinary objects. Safety pins became tools in the neurological exam; white vinegar became a treatment for otitis externa; bananas became models for suturing practice. I cannot forget the resemblance of strawberry to tongue nor grapefruit to shoulders on my weekly stroll down the grocery aisles. A still life presents a motionless arrangement of objects, usually fruit, flowers, fabric, and glassware. My digital artwork Still Life, on the cover of this issue, reflects the piecewise integration of specialized objects with the everyday—medical equipment interspersed with fruit. The composition invites the viewer to consider the relationships of the subjects. The soft, diffuse style highlights the ambiguity in knowledge acquisition and development, and allows the bright fruits to stand out against the blue-dominant medical equipment. In composing this still life, I could quietly step back, consider these juxtapositions with newfound curiosity, and get to know them again.Still Life

Design of delay compensation algorithm in remote auction network for digital art works

Aiming at the problem of delay and packet loss in current remote network, a delay compensation algorithm for high-speed network is studied and applied to the remote auction of digital art works. High-speed network delay mainly includes: transmission processing delay, waiting delay, transmission delay, and reception processing delay. The delay model of high-speed network is designed by using a time division multiple access protocol. Based on the high-speed network delay model, the Kalman filter is used to design the high-speed network delay control algorithm to maintain the high-speed network delay. At the same time, the round-trip delay compensation algorithm based on link delay is used to compensate the high-speed network delay. The experimental results show that the proposed method compensates the delay of more than 235 ms, and the packet loss rate of high-speed network is only 0.59%, and the throughput reaches 241 Mbit/s, which validates the algorithm can effectively compensate the delay of high-speed network and reduce the packet loss rate of high-speed network.

Sistem Pengamanan Lukisan Digital Menggunakan Metode Rivest Shamir Adleman (RSA)

Digital painting is a result of the process of making digital images/paintings using digital brushes that can produce lines. This painting has become a modern art that can be disseminated through the internet. However, with the ease of disseminating information, digital artwork on the internet is very easy to fake or steal. To solve this problem, a system was created to secure digital painting files using the Rivest Shamir Adleman (RSA) encryption and decryption method. RSA has the basis for encryption and decryption, namely the concepts of prime numbers and modulo arithmetic. Both keys are integers. Based on the research conducted, digital painting files are converted into text and then will go through an encryption process by RSA into text files. Furthermore, to restore the encryption results, the decryption process is carried out with the private key. The weakness of the current system is its inability to process large image files.

NFT Popularity -- Digital Artwork and Baudrillard's Theory of Consumption Alienation

With the popularity of 2021 NFT digital art, some concepts that people pay little attention to are gradually coming into peoples view. In the transaction process of digital artworks, the introduction of blockchain technology, the application of Non-Fungible Token (NFT) and other technologies or concepts gradually make it possible to sell a large number of digital products with cultural symbol characteristics. Therefore, the post-modernity era, which is composed of simulacra and new technologies, cultures and social forms, has arrived, as the French scholar Jean Baudrillard said. NFT art formally marks the end of the modern era dominated by production, industrial capitalism. This paper will explore the relationship between consumption alienation and the popularity of digital art through the perspective of consumption alienation put forward by Baudrillard

Precarious Bodies: Locating Spectatorship in the National Theatre of Scotland's Scenes for Survival Series

This article examines Scenes for Survival, a series of short digital artworks co-created by the National Theatre of Scotland, BBC Scotland and Screen Scotland, for its intersecting dimensions of precarity. On the one hand, the series shows how a pandemic's challenges are unevenly distributed. On the other hand, it addresses the expressly precarious position of (post-)pandemic theatre – precarious in that theatre presupposes the co-presence of an audience of some sort. Drawing on Judith Butler's concept of embodied precarity, I explore how select monologues articulate a ‘new bodily ontology’, and what kind of audience is constructed in the process. As I suggest, Scenes for Survival proposes ways in which proximity and physical co-presence must be reconfigured, constructed across space and time. In doing so, the series adds to ongoing discussions of how to conceptualize digital spectatorship, especially in times when physical co-presence is impossible, and thus becomes an issue of vulnerability.

Return on NFTs

Currently, the best known applications of blockchain technology are finance and art. In particular, the blockchain art market, born in early 2018 without fuss, went parabolic around 2021, also thanks to record-breaking sales of digital artworks associated with a Non-Fungible Token (NFT), mediated by the grand dames of auction houses Christie’s and Sotheby’s. In this contribution we merge art and finance on blockchain and explore the opportunity of buying blockchain art as a financial investment. While there exists a relatively large literature on traditional art as investment, the topic of investing in NFTs is still in its infancy. Thus, we provide methods (metrics) and tools (a Web app) to reason about opportunities, in terms of risks and returns, of investing in art on chain.