國立虎尾科技大學 |

No Humans Here : = Exploration in the Digital Age.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	No Humans Here :/
其他題名:	Exploration in the Digital Age.
作者:	Grabko, John.
面頁冊數:	1 online resource (39 pages)
附註:	Source: Masters Abstracts International, Volume: 85-11.
Contained By:	Masters Abstracts International85-11.
標題:	Fine arts. -
電子資源:	click for full text (PQDT)
ISBN:	9798382762081

No Humans Here : = Exploration in the Digital Age.
Grabko, John.

No Humans Here :Exploration in the Digital Age. - 1 online resource (39 pages)

Source: Masters Abstracts International, Volume: 85-11.

Thesis (M.F.A.)--Texas A&M University - Corpus Christi, 2024.

Includes bibliographical references

No Humans Here connects a lineage between landscape painters of the Hudson River School and Impressionists with 3D landscape renderings from artists of the early digital age at the turn of the millennium - work that conveyed an era of unbound creativity before dwindling as populated by more and more people over time. This transition diluted elements of exploration and curiosity through actions of curation, control, and exploitation - to the point that what once was, no longer remains. The initial magic, mystery and creativity of those early explorers and inhabitants in this digital age are now merely artifacts.As global exploration began to reach its limits by the mid 20th century, the advent of digital space opened new lands to explore and cultivate. Artists of the 90s began using modeling programs to create natural landscapes and architecture as a launchpad for creativity - akin to previous eras of landscape art - with particular comparisons to the Hudson River School. These early digital worlds were void of human inhabitants due to the practical nature of digital space itself - that humans do not exist directly within, rather we (currently) interact externally - or their presence is only alluded to because of technical limitations. Unlike early American landscape paintings, users of this new medium were unconstrained by romanticized realism or religious fervor, rather, they were unbound by the vastness of their own imaginations, and fantasy and science fiction literary influences of the 20th century such as J.R.R Tolkien (1892- 1973) and William Gibson (b. 1948). Additionally, the use of light, color, and visual-distortion brushstrokes of Impressionist landscape painting parallels the pixelated, low-resolution imagery of the early digital age. As of this writing, humans do not physically exist within digital space but use it as a gateway for mental projection. Digital space exists outside of time itself - records of its early history still live on online, untouched and without decay, while also constantly evolving through the present. No Humans here pays homages to the creativity of early 90's digital landscapes through nostalgia and reimagining, while also questioning hope, loss, and entropy of our digital futures.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798382762081Subjects--Topical Terms:

1112523
Fine arts.
Subjects--Index Terms:

Digital ageIndex Terms--Genre/Form:

554714
Electronic books.

No Humans Here : = Exploration in the Digital Age.
LDR:03582ntm a22003977 4500 001 1151406
005 20241104085625.5
006 m o d
007 cr bn ---uuuuu
008 250605s2024 xx obm 000 0 eng d
020 $a 9798382762081
035 $a (MiAaPQ)AAI31244132
035 $a AAI31244132
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Grabko, John. $3 1478174
245 1 0 $a No Humans Here : $b Exploration in the Digital Age.
264 0 $c 2024
300 $a 1 online resource (39 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Masters Abstracts International, Volume: 85-11.
500 $a Advisor: O'Malley, Ryan.
502 $a Thesis (M.F.A.)--Texas A&M University - Corpus Christi, 2024.
504 $a Includes bibliographical references
520 $a No Humans Here connects a lineage between landscape painters of the Hudson River School and Impressionists with 3D landscape renderings from artists of the early digital age at the turn of the millennium - work that conveyed an era of unbound creativity before dwindling as populated by more and more people over time. This transition diluted elements of exploration and curiosity through actions of curation, control, and exploitation - to the point that what once was, no longer remains. The initial magic, mystery and creativity of those early explorers and inhabitants in this digital age are now merely artifacts.As global exploration began to reach its limits by the mid 20th century, the advent of digital space opened new lands to explore and cultivate. Artists of the 90s began using modeling programs to create natural landscapes and architecture as a launchpad for creativity - akin to previous eras of landscape art - with particular comparisons to the Hudson River School. These early digital worlds were void of human inhabitants due to the practical nature of digital space itself - that humans do not exist directly within, rather we (currently) interact externally - or their presence is only alluded to because of technical limitations. Unlike early American landscape paintings, users of this new medium were unconstrained by romanticized realism or religious fervor, rather, they were unbound by the vastness of their own imaginations, and fantasy and science fiction literary influences of the 20th century such as J.R.R Tolkien (1892- 1973) and William Gibson (b. 1948). Additionally, the use of light, color, and visual-distortion brushstrokes of Impressionist landscape painting parallels the pixelated, low-resolution imagery of the early digital age. As of this writing, humans do not physically exist within digital space but use it as a gateway for mental projection. Digital space exists outside of time itself - records of its early history still live on online, untouched and without decay, while also constantly evolving through the present. No Humans here pays homages to the creativity of early 90's digital landscapes through nostalgia and reimagining, while also questioning hope, loss, and entropy of our digital futures.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a Fine arts. $3 1112523
650 4 $a Design. $3 595500
650 4 $a Art history. $3 1180038
650 4 $a Art criticism. $3 576960
653 $a Digital age
653 $a Landscape painters
653 $a Hudson River School
653 $a Impressionists
655 7 $a Electronic books. $2 local $3 554714
690 $a 0357
690 $a 0389
690 $a 0365
690 $a 0377
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a Texas A&M University - Corpus Christi. $b Studio Art. $3 1478175
773 0 $t Masters Abstracts International $g 85-11.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31244132 $z click for full text (PQDT)