Virtual art Virtual art Virtual art is a term for the virtualization of art, made with the technical media developed at the end of the 1980s (or a bit before, in some cases). These include human-machine interfaces such as visualization casks, stereoscopic spectacles and screens, digital painting and sculpture, generators of three-dimensional sound, data gloves, data clothes, position sensors, tactile and power feed-back systems, etc. As virtual art covers such a wide array of mediums it is a catch-all term for specific focuses within it. Much contemporary art has become, in Frank Popper's terms, virtualized. Virtual art can be considered a post-convergent
Mathematics and art plastic canvas instead. Their "mathghans" (Afghans for Schools) project introduced knitting into the British mathematics and technology curriculum. Modelling is far from the only possible way to illustrate mathematical concepts. Giotto's "Stefaneschi Triptych", 1320, illustrates recursion in the form of "mise en abyme"; the central panel of the triptych contains, lower left, the kneeling figure of Cardinal Stefaneschi, holding up the triptych as an offering. Giorgio Chirico's metaphysical paintings such as his 1917 "Great Metaphysical Interior" explore the question of levels of representation in art by depicting paintings within his paintings. Art can exemplify logical paradoxes, as in some paintings