Leading art theorists and historians in this field include Oliver Grau, Christiane Paul, Frank Popper, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Robert C. Morgan, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Fred Forest and Edward A. Shanken.
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An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint.
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The term artificial imagination is also used to describe a property of machines or programs: Among some of the traits that researchers hope to simulate using machines include creativity, vision, digital art, humor, satire, etc.
There are several kinds of interactive installations that artists produce, these include web-based installations (e.g., Telegarden), gallery-based installations, digital-based installations, electronic-based installations, mobile-based installations, etc.
The Austin Museum of Digital Art is the brainchild of Harold Chaput, then a Computer Sciences doctoral student at the University of Texas at Austin, and Christopher Rankin, an art history graduate of Trinity University and experienced museum worker.
A flatter is a coloring specialist within the comic book industry that prepares the inked or sketched comic book page for the colorist with digital art software such as Adobe Photoshop.
One of Lamis's tools of choice for his digital art was the IBM PCjr, which, according to his wife Esther, he began using around its release in 1984 and was still working with as late as 1998, long after the particular computer model had been discontinued.
In The End of Celluloid (2004), historian of digital art Matt Hanson argues that No Maps was a film that could not have been made before the advent of digital technology.
Recent publications featuring his work include Video Art, New Media in Art, and "Digital Art" in the Thames & Hudson World of Art series.