Digital Art

Animated GIFs as a Digital Art Form

Digital Art is the latest chapter in the History of Art. Using computer and the Internet as a medium, it paradoxically ruptures with many traditions and practices of Art and, at the same time, continues and perpetuates many of the discipline`s enduring questions, themes and aspirations. My research focuses on these characteristics, paying special attention to Animated GIFs as a digital art form in its own right. I will analyse Animated GIFs` relationship to art movements of the past, and intend to make my own art with this image file, showcasing them on a website. Finally, in my own artistic use of Animated Gifs I intend, in conjunction, to highlight its close conceptual connection to Existentialism themes and ideas.

Alan Andrei


The Art of the Pacific: a facsimile and critical edition of a museum accession catalogue

The digital artefact I propose to make is in the area of digital publishing: a facsimile and critical edition of the 1915 accession catalogue listing and describing the collections of early Pacific materials now held in the National Museum of Ireland. The pen and ink line drawings illustrating each entry will be the project’s point of entry into a multi-linear narrative allowing for reflection on the limits of the ideology of scientific objectivity and introducing a level of critique on current digitisation practices. Using sophisticated digital reading and image viewing interfaces, my goal is to ask what contextualised, interpretative resources for art historical and ethnographic materials might look like a hundred years on from 1915.

Aodhán Rilke Floyd


Building a visual narrative in 360° video

In a traditional moving picture a visual narrative is created by the rhythm between shots, the change in shot size and the movement of the camera within the shot. For the move from a wide shot to a close up results in an increase of visual intensity. These have been the fundamental tools available to storytellers working in the medium and have allowed them to increase and decrease tension by controlling the point of view of the audience.

With 360° video the director loses some of the control over the audience’s perspective but gains the ability to create a more immersive experience. The ability for 360° video to transport the viewer to the scene is one that is far stronger than that of a viewer watching a screen, especially if the experience is communicated through the use of VR gear such as the Oculus Rift. There is still a need however a narrative if the audience is to be engaged and transformed by a story rather than an experience.

For my MA project I wish to investigate storytelling in in 360° video and build a visual narrative that will introduce a number of different techniques that could influence and further develop the field.

Colm O’Fearghail

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