The Progression of the Medium Change between the Painting with the Digital Image

Change in media between paintings and digital images Albert Bergman designed "equipment paradigm" in his skills and characteristics of modern life as an example of a model in which the existence of technology lies behind it. Although Bergman wrote his work in 1984, the research paradigm is valuable in the context of the current development of technology society. The problem is whether the paradigm of the device still applies to the current technology settings, or is it more realistic than it is now?

Digital painting is a method for digitally creating artistic objects (paintings) and / or techniques for creating digital art with computers. As a way to create art, it applies to traditional coating media such as acrylic paint, ink, watercolors etc and applied to traditional carriers like canvas, paper, polyester etc woven by computer . The software drives industrial robots or office equipment (printers). As a technique, it refers to a computer graphics software program that uses a virtual canvas and brush, color and virtual paint box for other supplies. The virtual box contains many musical instruments that are not present outside the computer, and the digital artwork is given a different appearance and atmosphere than the conventional method. Digital paintings are also not "computer generated" art, as computers do not automatically use some mathematical calculations to create images on the screen.

When new digital media were allowed, I was keen to use the old paintings in a new way. Fabric sample The 2015 lighting music box projects LED light through silk fabric printed with the design of PhotoPhopped image I made in 1973. This is my first time writing this relationship between my creative process and its prediction, but I have been paying attention to this process for a long time. In the early 1980s, I worked with Willis Harman. He founded a future research department at Stanford Research Center (currently SRI International). He was a professor of electrical engineering at Stanford University and has been engaged in early research on LSD and creativity.