They can have all the colors of the world, but only the semi-casual arrangement glorifies their aesthetic effect, a bit like the abstract art of the middle of the last century, but entirely digital. And since digital means versatility, and since the results were beginning to charm an increasingly heterogeneous audience as they did with pop-art, I followed the wave of digital: automation and versatility, adaptation to the user as the geek say.Ĭh'Art is not always pure Art, but is best expressed as Applied Art.īut unlike the principles of Art massification developed in the Bauhaus, where it was a matter of refining projects for an assembly line able to churn out "artistic products" all the same, today's mission is absolute diversification. I Ch'Art have no shape if not attributed by the observer. Creative editorial design and consulting.Review and criticism of digital imaging manuals.Advanced experiments on digital printers with different technologies, inks and media.Analysis of graphic software and equipment for digital figuration.Articles concerning the ethical-aesthetic-historical theory of digital art.1998/2000: Redazione arte e pubblicazioni digital imaging per Computer Graphics & Publishing.2001/2002: Publications on Graph Creative and Rassegna Grafica.2002/2004: Publications on FotoComputer and PcUpgrade.2002/2006: Curator for digital imaging and publications on Graphicus.2004/2006: Publications and editorial contributions on Computer Arts.2006: Curator for digital imaging and publications on Italia Grafica.2006/2008: Publications on Linea Grafica, Selezione Tessile, Prima Copia.2008/2012: Research and realization of the book Digital Printing Chapter One.2012: Research on printability and design with innovative materials for Pubblitec and Allestire.In the academic field it was the first on the subject and the first on interactive multimedia support, and it earned me the high score with praise. This nickname has remained with me since the BreraĪcademy, where in 1999 I presented a thesis on ethics and aesthetics of Digital Art, entitled " Digital Art Chapter One". My research on the Figurative Digital Art investigates the technologies that allow its innovation, exploring the different techniques of creation and production and, strangely enough, looking for ways to explain them clearly to all of you. I do it by character, by passion and, when required, also by profession. They may seem to be many ares of expertise for a single professional, but they are all part of a single path of articulated and coherent research, evolved in over twenty years of study and activity. Recently I also dabble in interior design. Someone knows me better as a researcher, journalist, teacher or company consultant. Hello, I am Massimo Cremagnani and I am an Artist.
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