History of Computer Art

A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than is usual in such histories. From October 2011 to December 2012 the chapters have been published successively in German (The English translation started in August 2013 and was completed in June 2014)

History of Computer Art

Die Entwicklung von Computer und Software von den fünfziger Jahren bis heute wird vorgestellt. Als Leitkriterien der Geschichte der Computerkunst werden ein Interface-Modell und drei Arten, Rechenprozesse einzusetzen (generativ, modular, hyptertextuell), vorgeschlagen. Die "Geschichte der Computerkunst"/"History of Computer Art" erörtert Beispiele aus frühen Entwicklungsphasen von Kunstformen wie Kybernetische Skulpturen, Computergraphik und -animation (einschließlich Musikvideos und Demos), Videokunst und Computerspielen, reaktive Installationen, Virtuelle Realität, Evolutionäre Kunst und Netzkunst. Die Funktionen der ausgewählten Werke werden detaillierter vorgestellt als dies in vergleichbaren Geschichten üblich ist. Die deutsche Version wurde bis Dezember 2012 kapitelweise in IASLonline Lektionen/Lessons in Net Art publiziert. Das letzte Kapitel der englischen Version wurde Juni 2014 veröffentlicht. Im September 2015 wurde ein erstes Update eingestellt

History of Computer Art, Second Edition

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories. The second edition for the Book on Demand (Lulu Press, 2020) includes an update of chapter II.1.1 (first edition 2014)

History of Computer Art

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories. The German version was completed in December 2012. The last chapter of the English translation was published in June 2014. First update: September 2015

Cenografia virtual enquanto tecnologia e o seu desenvolvimento e adaptação ao meio televisivo

Tese de Mestrado em Design de ProdutoO Cenário Virtual surge como uma realidade quotidiana do telespectador aplicada pela maioria das cadeias televisivas. Esta circunstância veio incrementar o desenvolvimento da cenografia televisiva e a forma como os conteúdos programáticos devem ser explorados e apresentados neste meio de comunicação. Considerando as investigações em curso, a nível nacional e internacional, procurou identificar-se que medidas estão a ser aplicadas na exploração das potencialidades criativas proporcionadas pela utilização da Realidade Aumentada neste meio, em especial na Cenografia Virtual Metodologicamente, numa primeira fase, efectuamos o levantamento da informação apoiando-nos em estudos científicos e nas tecnologias actualmente aplicadas na produção audiovisual. Posteriormente, recorremos a contactos directos com profissionais do ramo e à avaliação in loco de diferentes estudos de casos e dos diferentes modi operandi, compararando as principais práticas utilizadas ao nível conceptual do modelo tridimensional da Cenografia Virtual e confrontando ferramentas e tecnologias disponíveis com as dificuldades encontradas na sua utilização. Como resultado foi possível identificar que contributos melhor se adequam à exploração e à implementação das potencialidades criativas proporcionadas por esta tecnologia no meio televisivo. De igual forma, foi possível reunir um conjunto de novas linhas metodológicas na abordagem projectual para o designer de cenografia virtual integrado numa estação televisiva.Virtual Scenography has become a reality for the media consumer, currently used by the major television networks. This new reality has triggered the development of television scenography and the way media content should be presented. Considering the current research, at a national and international level, we have attempted to identify the endeavors that are being taken to explore the creative oportunity brought by Augmented Reality to the audio-visual media, particularly, by Virtual Scenography. Methodologically, the first stage was based on a survey of scientific studies and technologies currently used on television productions. On a second stage we interviewed key professional figures and have come into direct contact with different case studies and modi operandi. This way, we were able to compare the main instruments and practices employed on 3D modeling for Virtual Scenography, evaluating the challenges found with the performance of the available tools and technologies. As a result, it became possible to identify which contributions were most appropriate to the development and implementation of the creative process supported by this technology in the television medium. Also, it became possible to develop a set of new methods and project practices for the virtual set designer in a television network