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dc.contributor.authorHilliard, John
dc.contributor.authorHonlold, Astrid
dc.contributor.authorRobinson, Carl
dc.contributor.authorRosenstein, Tatiana
dc.contributor.authorRushton, Stephanie
dc.contributor.authorSimson, Henrietta
dc.contributor.authorSpeidel, Klaus
dc.contributor.authorWalker, Jame Faure
dc.contributor.authorWeir, Catherine M
dc.contributor.authorWooldridge, Duncan
dc.contributor.authorWright, Mark
dc.date.accessioned2018-09-07T14:47:48Z
dc.date.available2018-09-07T14:47:48Z
dc.date.issued01/09/2018
dc.identifier.citationRobinson, C. (ed.) (2018) 'PaintingDigitalPhotography: Synthesis and difference in the age of media equivalence.', Newcastle Upon Tyne: Cambridge Scholars Publishing.en
dc.identifier.isbn9781527511101
dc.identifier.isbn1527511103
dc.identifier.urihttp://hdl.handle.net/10545/622956
dc.description.abstractWe live in a digital age where the mediums of art are inextricably bound to the binary code, and painting and photography are redefined in their interconnected relationship through digital reconfiguration. As digitisation unmoors these mediums from their traditional supports, their modes of production, display and dissemination shift. These changes bring about new ways of creating, and engaging with, artworks. Through this, the innate qualities of the mediums, previously anchored in their analogue nature, are re-evaluated through their connection with “the digital”. Born out of the PaintingDigitalPhotography conference, held at QUAD Derby, UK, in May 2017, this anthology of essays investigates aspects of interconnectivity between painting, digital and photography in contemporary art practices. It contributes to critical discourses around networks of associations by examining where syntheses occur, and differences remain, between these mediums at the beginning of the twenty first century.
dc.description.sponsorshipUniversity of Derby Arts and Humanities Research Funding Panel.en
dc.language.isoenen
dc.publisherCambridge Scholars Publishingen
dc.relation.urlhttps://www.cambridgescholars.com/paintingdigitalphotographyen
dc.relation.urlhttp://hdl.handle.net/10545/623472
dc.relation.urlhttp://hdl.handle.net/10545/624854
dc.relation.urlhttp://hdl.handle.net/10545/624872
dc.rights.urihttp://creativecommons.org/licenses/by-nd/4.0/*
dc.subjectPaintingen
dc.subjectDigitalen
dc.subjectPhotographyen
dc.subjectMediaen
dc.subjectBinary codeen
dc.subjectPhotographyen
dc.subjectArten
dc.titlePaintingDigitalPhotography: Synthesis and difference in the age of media equivalenceen
dc.typeBooken
dc.contributor.departmentUniversity of Derbyen
html.description.abstractWe live in a digital age where the mediums of art are inextricably bound to the binary code, and painting and photography are redefined in their interconnected relationship through digital reconfiguration. As digitisation unmoors these mediums from their traditional supports, their modes of production, display and dissemination shift. These changes bring about new ways of creating, and engaging with, artworks. Through this, the innate qualities of the mediums, previously anchored in their analogue nature, are re-evaluated through their connection with “the digital”. Born out of the PaintingDigitalPhotography conference, held at QUAD Derby, UK, in May 2017, this anthology of essays investigates aspects of interconnectivity between painting, digital and photography in contemporary art practices. It contributes to critical discourses around networks of associations by examining where syntheses occur, and differences remain, between these mediums at the beginning of the twenty first century.


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