Painting is a physical practice that engages enactive modes of understanding as well as requiring a heightened visual perception and observational skills. This paper argues that by bringing technology into the painting process, tools can be developed that seek to empower this latent intellect and ability that is normally lost when using a computer in conventional ways. This paper seeks to outline principles necessary to build with software in a dynamic way -leaving space for creative observation, discovery and evolution. Specifically by implementing a Digital Painting Interface and software framework to allow for the manipulation of computer graphics through painting and exploring the differences between these two historically antithetical creative processes. From this, an environment can be developed which allows for the freedom to create using either the artist's hand or the computer's generative algorithms in addition to producing a range of artistic works neither painting nor graphics programming alone would be able to create.Painting. Creative coding. Computer interaction. Graphics programming. Algorithmic art.
This paper explores the historical discourse around migrant voices within British art history, why now is the time to address these subjects and how through the use of participatory digital art it is possible to educate for social change. The paper will focus in particular on shemza.digital, a digital and interactive participatory art project created by Aphra Shemza and Stuart Batchelor. The project was funded by Arts Council England and based on the work of the British/Pakistani painter Anwar Jalal Shemza. Digital art. Participatory art. Generative art. British art history. Decolonising art. 1.INTRODUCTIONIn the last ten years there has been a rethinking of the place of migrant artists within British art history. Artists who came over to the UK in the 50s & 60s such as Frank Bowling,
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