Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
2013, Alibi (Black or White)
""Alibi (Black or White) PhD project dissertation is organized in four sections: Terminology and Hypothetic Aspects, Poetic Platform, Project Description and Conceptual and Thematic Explication. Terminology and Hypothetic Aspects includes my authorial approach, directions for viewing the contents, and definitions of the key terms. Poetic Platform presents my artistic and research interests, production methodology and approach to the digital paradigm, the initial context, hypotheses, concepts, themes and goals of the project. Project Description is a comprehensive delineation of the project material, structure and methodology, working procedures, outcomes and the potentials for further development. Conceptual and Thematic Explication is a theoretical review of the contextual, methodological and poetic aspects of the project such as the title, the study based project realization, the role of research in the artistic process, algorithm and generativity, media qualities of digital image and morphing, the portrait as a visual event, ideological implications of the portrait, ethics of contemporary art, its social status and relations with the global trends in economy, politics, science and technology. Each chapter in this section includes the concluding remarks induced by the artistic and theoretical work on the project. The dissertation (in Serbian with English summary) is available as a PDF and in print, at the FFA Library, Rajićeva 10, Belgrade. Keywords: algorithm, analogue, animation, beauty, change, culture, cursor, digital, ethics, event, evolution, face, facialization, generative, image, information, morphing, portrait, reality, study, time, video, virtual, youth.""
This is an edited version of the Introduction to my book Digital Art, Aesthetic Creation: The Birth of a Medium, published by Routledge in their Advances in Art and Visual Studies series, 2019. In the book, the chapter is entitled ‘Introduction: The Possibility of Art’. If you wish to cite this discussion please refer to the version as presented in the book . The discussion here justifies why digital art can be regarded as an authentically artistic mode of creation, and considers aspects of its creativity.
2020
Art Style | Art & Culture International Magazine is an open access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of sociocultural and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance-the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives-like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, literature, sculpture, architecture and design-are discussed in their visual significance as well as in synchronization with music in daily interactions. Moreover, this magazine handles images and sounds concerning the meaning in culture due to the influence of ideologies, trends, or functions for informational purposes as forms of communication beyond the significance of art and its issues related to the socio-cultural and political context. However, the significance of art and all kinds of aesthetic experiences represent a transformation for our nature as human beings. In general, questions concerning the meaning of art are frequently linked to the process of perception and imagination. This process can be understood as an aesthetic experience in art, media, and fields such as motion pictures, music, and many other creative works and events that contribute to one's knowledge, opinions, or skills. Accordingly, examining the digital technologies, motion picture, sound recording, broadcasting industries, and its social impact, Art Style Magazine focuses on the myriad meanings of art to become aware of their effects on culture as well as their communication dynamics.
AESTHETICS AND THE MEDIA Changes in artistic practices and aesthetic experience in the digital world
The paper examines the attributes of content as these appear in the visual narratives of digital works made by contemporary artists who negotiate their practice using two types of media; digital video and photography. In the narrative that a digital work creates, we observe an ever-changing combination of relationships between the person-who-tells-a-narrative and the medium-that-presents-this-narrative. Such a relationships are responsible for shaping a new aesthetic experience: The content artists elaborate, provides us with an intrinsic aesthetic value that emerges through unfathomable itineraries that draw a territory which resembles a labyrinthine, a seemingly uncertain plan of reasoning and practice. I will discuss the parameters responsible for creating that dimension where digital video and photography through the shooting, manipulation and presentation of a narrative content become the means of those particular elements that are forming their aesthetic aspect. As the relationships that are forming the digital content are so rich in praesentia, they soon introduce an organization in absentia of these relationships, therefor, a specific knowledge is used, developed in the field of post-modernism, e.g., post-structuralism, reflexivity, relevant and relational aesthetics, in order to elucidate concepts forming the content. The text begins with the fact that the whole effort of interpreting a digital work of art is a matter of understanding the artistic thought behind it which, is limited to unfolding itself in every present, where as we observe a series of temporal-events, the doubt threatens to create at any time multiple introductions, versions and deviations towards the concepts they convey.
In 1936, Walter Benjamin addressed the great change triggered by the technical reproduction of images. At that time, new media such as photography and cinema were transforming not only the forms of art but also the way people perceived the world through new forms of collective innervation. In fact, it was the way humans looked at things that were profoundly changed. Through these new technologies, humans were learning to come closer to objects and play with their images. Like never before, these new media brought "optics" and "touch" to become closely interwoven, deeply affecting the arrangement of the human sensorium. Today, the idea of an essential change in the way we perceive the world has become true in a way that largely exceeds Benjamin's expectations. Digital technologies have become more than just mere instruments. These have either taken the form of three-dimensional computer-generated responsive environments in which users interact through their bodies (like virtual reality) or have been deeply integrated into the environment and into human's bodily self, permeating and shaping his everyday experience (as AI and augmented or mixed reality). Providing us with a broad spectrum of experiences ranging from total and solitary immersion (Grau 2003) or absorption (Geniusas 2022), to shared digital experiences of co-presence (Schroeder 2006) and prosthetic enhancements of the body beyond its physical limitations and capabilities (Idhe 1993; Verbeek 2008), digital technologies trigger new senses of presence (Wiesing 2010; Slater and Sanchez-Vives, 2016), and of embodiment (Kilteni et al. 2012) through avatars (Gonzales-Franco and Peck 2018), as well as new forms of participative actor-spectatorship (Ljungar-Chapelon 2009; Bishop 2012).
Enculturation is the act of passing cultural ideologies from one person to the other. It is what breeds innovation instead of new creation. It is the disease of derivation, instead of the birth of creativity. This chapter assumes the practical perspective of critical anthropological distance to understand the culture of art. Such critical evaluation should illuminate the distinct characteristics that encourage patterns. In the tradition of anthropological and sociological study of existing culture, this chapter seeks to illuminate the distinguishing characteristics of contemporary art production and offer perspective on the critical creative process. It takes new media art as its case study because it serves as a cross-cultural intersection of scientific invention and artistic innovation.
2019
Editor-in-Chief and Creative Director: Christiane Wagner For more information about the board, please click on Editorial Team and Art Style Magazine's Scientific Committee Art Style | Art & Culture International Magazine is an open access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, m...
2018
On the cover Provisional SALTA Ensemble, Reset Mondrian, 2018.
The Concept of Digital Art and Refik Anadol, 2024
Humanity is moving forward in a process of evolution where technology and art intersect. In the modern era, the spread of computers and the internet has enabled works of art to reach a wider audience and has brought innovations in the way art is created and exhibited. Digital art has emerged as a product of this transformation and has become a developing discipline using the aesthetic and creative potentials of computers and the internet. With the spread of the internet, fundamental changes have been experienced in the media and communication order, and digital media and encodings have created new forms of communication. Refik Anadol, one of the leading names of digital art in Turkey, has built bridges between the physical and digital worlds through the use of data and artificial intelligence, and has taken art to a new dimension. Anadol's works have transformed the perception of space and presented alternative realities to the audience. These works change and expand the way art is perceived by making the audience active participants.
2019
Editor-in-Chief and Creative Director: Christiane Wagner For more information about the board, please click on Editorial Team and Art Style Magazine's Scientific Committee Art Style | Art & Culture International Magazine is an open access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, m...
Abstract: The conception and development of information-communication technologies had a strong impact on the sphere of art in XX century. Art experts make attempts to analyze modern tendencies in the development of artistic process dynamic. Over the last years, we had published works in which a lot of attention was paid to the issues of mutual influence and interdependence of technological novices and art. The author considers the peculiarities of impact of Motion Capture technology on the dynamic of development of artistic process in film art.
2020
That art practitioners can be sceptical about theory-even to the point of developing a misplaced aversion to it-is perhaps not just because some theories seem far afield from the actual practice of art, but also because the performative power of theory competes with the performative power of art." Henk Borgdorff, The Conflict of the Faculties. Perspectives on Artistic Research and Academia "Traditionally, artists have achieved matter-of-factness through 'complete familiarity' with the style, as Igor Stravinsky [...] demands of the performer, or, more recently, through what has been called 'deskilling' [...], a process of unlearning artistic habits, which may, indeed, imply a 'reskilling' [...] precisely in support of artworks as matters of fact." Michael Schwab, Experimental Systems. Future Knowledge in Artistic Research The rooting in an artistic practice is strong, and art-based research often draws on the artists' experience, professional expertise and creative ability. The research usually proceeds in combinations of systematic, exploratory, creative, experimental, action-oriented and speculative working methods through artistic creation and analysis, staging, simulation and modelling, critical innovation and reflection, and theory formation. Catharina Dyrssen, Artistic Research. A Subject Overview Editorial José Quaresma the issue of 'in between states'-asking questions about how changes and transitions are shaped, and what constitutes the brief moment of instability between two sets of conditions." ... scrutiny and oscillation between what is most intersubjective in approaching artistic situations and pieces of art, through a communicational delivery and an argumentative work (written, spoken, or both), requiring a certain technical formalization, either in the consistency of notions or in the density of discourse. ... but on the other hand, perhaps being possessed, experiencing a certain state of mania, swayed by an incessant and pendular rhythm that makes us return to the pre-predictiveness of our sensitivity, always there to renew the silence and to disturb us with states of discursive impotence, thus reshuffling everything we seek to utter about our access into artistic phenomena.
Springer eBooks, 2015
the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
Computers & Graphics, 2007
Editorial Editorial of the special issue ''Technology and digital art'' ARTICLE IN PRESS www.elsevier.com/locate/cag 0097-8493/$ -see front matter r
BEYOND INTERPRETATION Selected Online Proceedings from the 3rd Festival Conference of Music Performance and Artistic Research “Doctors in Performance”, 2021
Starting from the question whether the combination of non-artistic practices could be part of Artistic Research (AR), this paper goes back to an investigation on whether the approach of art & technology projects could be interpreted as AR. The idea draws on the way these projects sought to combine technological innovation and development with artistic production. 2 By seeing these aspects as essential parts of AR, a preliminary definition would be: It is … a) the examination of a defined object or problem (specificity), b) either a relation of the artist's work to (1), defined by other AR practices, or a trial series that shapes in and through the process (methodology), c) defined by an outcome considered as art; it may have features useful to other disciplines or be shaped according to other research interests (artistic & research output), d) a process that is essential to the outcome, which may be multidisciplinary (relation), e) comprehensible that the outcome is the result of the process, and lets others understand this process or continue from there (legibility & transferability). 3 For Leon Harmon's and Kenneth Knowlton's Computer Nude (Studies in Perception I) (silkscreen print, 87x183 cm, 1967) and the follow-up series, art historians suggest that its creation entailed the development of new methods of computation of images, namely the assertion of values of easily displayable signs to certain shades within the image (
The Encyclopedia of New Media Art: Volume 2: Artists & Practice, 2024
Digital aesthetics is characterized by a diversity of approaches that stem from the constantly evolving nature of new media and aesthetics. What qualifies as digital or its umbrella term, ‘new media technologies’, is continually changing and covers various applications and theories from art, science and industry. Aesthetic discourse is concerned with the experience of the world and its effect on the embodied subject (Karatzogianni and Kuntsman 2012). Anna Munster argues that aesthetics ‘cannot remain undisturbed by the machine’ since its influence manifests and augments itself in our perception and associated responsibilities (2006: 151). I argue that the relations inherent to the processes of new media influence, mediate and sensitize us to digital artworks and their associated aesthetic, perceptions and ethical and political affects (Felski 2020). This will require taking into account the material-discursive dimensions of digital media and how they work in relation to the generative possibilities of the body and its sensations.
Technoetic Arts, 2009
Today we come across new media art projects as post-industrial art services that occur at the intersection of contemporary art, new economy, post-political politics (activism, hacktivism), technosciences and techno lifestyles. The artwork is not a stable object anymore, it is a process, an artistic software, an experience, a service devoted to solving a particular (cultural and non-cultural) problem, a research, an interface which demands from its user also the ability for associative selection, algorithmic (logical) thinking and for procedures pertaining to DJ and VJ culture, such as mixing, cutting, sampling and recombination. The art service is not so much the manufacturing of things as it is a process of reshaping the thing, moving it, repurposing it, connecting it and incorporating it into new contexts and relations. The service presupposes a problem, a challenge or an order to be solved or carried out. The performer of the service is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the manufacturing of a finished object. The service always implies an algorithmic procedure that has to be as rational as possible, economical, divided into phases, steps, instructions needed for it to be carried out. By defining the new media art in terms of post-industrial service activity, the traditional concepts of aesthetic and autonomous art are left behind and replaced with novel theoretical devices, e.g. software, repurposing, remixing, recombination, rewriting and hybridization.
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.