Use of digital technologies in painting art, and interactive digital art experiences

This thesis explores the use of digital technologies in painting and the evolving concept of interactive digital art within the framework of contemporary art, through an interdisciplinary lens. It investigates the technical, conceptual, and experiential dimensions of this emerging artistic form. The digitalization of artistic production is not merely a change in tools, but a transformative process that redefines the relationship between the viewer, the artist, and the artwork. Interactive digital art repositions the audience as active participants in the creation of the work, offering personalized, multilayered experiences. The theoretical sections of the thesis examine the historical development of digital art, the precursors of interactive art, and the influence of digitalization on aesthetic perception. The conceptual framework is structured around key notions such as interactivity, time-image, movement-image, participatory aesthetics, and the experience economy of the digital age. Within this context, the intersections of art and technology are discussed alongside contemporary developments such as new media, NFTs, artificial intelligence, and other emergent digital paradigms. In the practice-based section, the applied aspects of interactive digital art are presented through two installation works designed by the author: Evanescent Trace and Tracing Motion. Both works construct a hybrid aesthetic realm where the cyclical nature of time, the body's potential to leave traces, and the merging of digital and physical dimensions are central. Ultimately, this thesis argues that interactive digital art is not solely a technical innovation but also a form of expression and a critical tool intimately connected to human existence in the digital age.