In this fiercely ambitious study, Meredith Anne Hoy seeks to reestablish the very definitions of digital art and aesthetics in art history. She begins by problematizing the notion of digital aesthetics, tracing the nineteenth- and twentieth-century movements that sought to break art down into its constituent elements, which in many ways predicted and paved the way for our acceptance of digital art. Through a series of case studies, Hoy questions the separation between analog and digital art and finds that while there may be sensual and experiential differences, they fall within the same technological categories. She also discusses computational art, in which the sole act of creation is the building of a self-generating algorithm. The medium isn't the message-what really matters is the degree to which the viewer can sense a creative hand in the art.
This book details original, theoretical, and important experimental results that use non-routine methodologies often unfamiliar to most readers. It also includes papers on novel applications of more familiar experimental techniques and analyses of composite problems. The book provides comprehensive coverage on the latest developments of research in the ever-expanding area of composite materials and their applications to broad scientific fields spanning physics, chemistry, biology, materials, and more.
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