By Anna Bentkowska-Kafel, Trish Cashen, Hazel Gardiner
This publication seems on the transformation that paintings and artwork heritage is present process via engagement with the electronic revolution. considering the fact that its initiation in 1985, CHArt (Computers and the heritage of paintings) has got down to advertise interplay among the quickly constructing new info expertise and the learn and perform of paintings. It has develop into more and more transparent lately that this interplay has led, not only to the supply of recent instruments for the engaging in of latest practices, yet to the evolution of remarkable actions and modes of thought.
This selection of papers represents the diversity, innovation and richness of vital displays made on the CHArt meetings of 2001 and 2002. a few exhibit new equipment of educating being hired, making transparent particularly the large benefits that it will possibly supply for attractive scholars in studying and interactive dialogue. It additionally exhibits how a lot is to be received from the flexibleness of the electronic image‚ Äì or may be received if the line block of copyright is ultimately conquer. Others examine the impression on collections and information, exhibiting fascinating methods of utilizing desktops to make to be had information regarding collections and data and to supply new accessibility to documents. the best way such fabric can now be accessed through the web has revolutionized the quest equipment of students, however it has additionally made details to be had to all. but the web is not just approximately entry. a few papers right here exhibit the way it additionally deals the potential for exploring the constitution of pictures and working with the interesting probabilities provided through digitisation for visible research, looking and reconstruction. one other demanding point lined listed here are the chances provided via electronic media for brand new artwork kinds. One aspect that emerges is that electronic paintings isn't a few discreet perform, separated from different paintings types. it is vitally an technique which could contain all demeanour of organization with either different artwork practices and with different kinds of presentation and enquiry, demonstrating that we're witnessing a revolution that has effects on all our actions and never one who easily results in the institution of a brand new self-discipline to set along others.
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To mark the fact that this was a time when both music and the visual arts were going through changes in structure, the music of Stravinsky’s Rite of Spring, 19137 can be heard as the text appears on the screen. The main menu is based on a flow chart (available in other areas of the CD-ROM) which has been adapted to a graphical navigational field. 8 The information is divided into three main categories, ‘Language of Colour’, ‘Historical Background’ and ‘Theoretical Background’, and although these are interrelated, distinction is established between ways of approaching the paintings themselves.
Given that the interreferential possibilities are vast, it is therefore easy for teachers to select the relevant themes and follow them throughout the different subsections. Only those themes that were also relevant elsewhere in the presentation were selected, highlighting one or two of the most central points. This opens the possibility for the users – either teacher or pupil – to use their imaginations to draw up further conclusions. Thus, the focus here is on a distinguishing feature of Klee’s theory of colour, his emphasis on the analogy between music and colour.
The final era of the presentation represents another focus point, culminating in a comparative analysis of two paintings from different eras, Eros by Paul Klee, which has been analysed elsewhere in the CD-ROM, and Horizon Light by Barnett Newman (1949, Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska-Lincoln). They would appear to represent a set of very similar issues, Animating Art History 31 Links with other sections, such as the previously mentioned ‘Movement – Tracing the Artist’ are reinforced and activities illustrate the similarities.