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1
Lopes, Dominic McIver. „Aesthetics of Interaction in Digital Art“. British Journal of Aesthetics 55, Nr. 2 (09.09.2014): 261–63. http://dx.doi.org/10.1093/aesthj/ayu040.
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CROWTHER, PAUL. „Ontology and Aesthetics of Digital Art“. Journal of Aesthetics and Art Criticism 66, Nr. 2 (März 2008): 161–70. http://dx.doi.org/10.1111/j.1540-6245.2008.00296.x.
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CROWTHER, PAUL. „Ontology and Aesthetics of Digital Art“. Journal of Aesthetics and Art Criticism 66, Nr. 2 (März 2008): 161–70. http://dx.doi.org/10.1111/j.1540-594x.2008.00296.x.
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Denikin, Anton A. „Post-Digital Aesthetics in the Art Practices of the Digital Art“. Observatory of Culture 14, Nr. 1 (01.01.2017): 36–45. http://dx.doi.org/10.25281/2072-3156-2017-14-1-36-45.
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Gintere, Ieva. „ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME“. SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (20.05.2020): 649. http://dx.doi.org/10.17770/sie2020vol5.4817.
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The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future. This paper continues previously published research that helped to create the concept and design of Art Space, and focuses on the trends of photorealism and futurism.
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Holgate, John. „Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?“ Proceedings 47, Nr. 1 (15.05.2020): 54. http://dx.doi.org/10.3390/proceedings47010054.
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The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.
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Holgate, John. „Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?“ Proceedings 47, Nr. 1 (15.05.2020): 54. http://dx.doi.org/10.3390/proceedings2020047054.
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The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.
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Philipsen, Lotte. „Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics“. A Peer-Reviewed Journal About 3, Nr. 1 (01.06.2014): 120–30. http://dx.doi.org/10.7146/aprja.v3i1.116092.
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This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience.
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Gintere, Ieva. „A NEW DIGITAL ART GAME: THE ART OF THE FUTURE“. SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (21.05.2019): 346. http://dx.doi.org/10.17770/sie2019vol4.3674.
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The task of this study is to create an innovative digital art game of contemporary aesthetics on the basis of research. Research implies the analysis of digital art games and the historical background of their aesthetics, as well as their classification following the stylistic trends. Digital games have a great potential to integrate people into fields that would otherwise not meet their interest. The new game would develop the creative skills of players and teach them the current trends in digital art. The game would project the inheritance of art from the age of modernism into the digital world by teaching the player to recognize it (for instance, pixel aesthetics is a successor to cubism and constructivism). The new game will let its user play around with the trends in digital art such as vaporwave, glitch and others, and to create new ones. Thus, it would deal with the problem of knowledge cache and cultural segregation that characterizes modern art: being an esoteric subject to a great extent, it is difficult to access a large segment of the public. The aim of this study is to raise the interest of a wide-ranging public for contemporary art and to point out the newest creative tendencies in art. The paper presents an overview of digital art games, introduces a novel term, vaporwave, that has not been registered in the art game discourse so far, and offers an updated definition of the art game. The Design Science Research method is used in order to cross-cut such remote fields as the general public and the arthouse world, codes of modern art and the taste of the general public.
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Susca, Vincenzo. „Open-air museums: digital cultures, aesthetics and everyday life“. Vista, Nr. 7 (15.04.2021): e021003. http://dx.doi.org/10.21814/vista.3165.
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At a time when everything becomes art, art no longer belongs to itself, to the point of overflowing from the frames that have enclosed it for several centuries – museums, galleries, churches – with unprecedented effects not only in the field of aesthetics, but above all in ordinary life. To understand this in depth, it is necessary to take into account the digital reproducibility of the work of art as a dynamic that upsets the relationship between work and spectator, subject and object, politics and everyday life. From the second half of the 18th century onwards, we saw a dynamic of "aestheticization of the public" parallel to the birth of the cultural industry and, therefore, the transformation of culture into merchandise. It is an ambiguous process, as it implies the emergence of the mass as the central subject of our culture, but also its definitive reification. What about aesthetics in such a condition? This study explores the genology and history of this process by updating Walter Benjamin's thinking in relation to the cultural emergencies of our time. In particular, it seems essential to understand what happens to the aura in the context of a condition in which the aesthetic object, the work of art and, more generally, the area that concerns beauty is available, used and consumed in everyday life, to the point of placing our cities as "open air museums".
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Li, Qi. „Data visualization as creative art practice“. Visual Communication 17, Nr. 3 (17.04.2018): 299–312. http://dx.doi.org/10.1177/1470357218768202.
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This article begins by tracing the evolution of data visualization from the fields of aesthetics to areas of creative practice, arguing that the emergence of big data presents creative potential for digital artists. Whereas conventional information visualization emphasizes the effective understanding of data, aesthetics considers the possibility that visualization can enhance the experience of data and support the acquisition of knowledge. In expressing an artistic intent or form, data-based creative practices synthesize and build upon techniques in communications and aesthetics. The article provides a review of recent digital art projects involving big data and suggests further directions for creative practice in an era of data proliferation.
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Bristow, Tegan. „Cultures of Technology: Digital Technology and New Aesthetics in African Digital Art“. Critical Interventions 8, Nr. 3 (02.09.2014): 331–41. http://dx.doi.org/10.1080/19301944.2014.975509.
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Daudrich, Anna. „Towards post-digital aesthetics“. SAJ - Serbian Architectural Journal 7, Nr. 2 (2015): 213–22. http://dx.doi.org/10.5937/saj1502213d.
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Over the past decades, digital technology and media had firmly integrated into almost all areas of contemporary culture and society. In this context, the Internet, computers or mobile phones are no longer considered products of new media, but instead are taken for granted. With this background in mind, this paper suggests taking a post-digital perspective on today's media society. The concept of post-digital refers to an aesthetics that no longer regards digital technology as a revolutionary phenomenon, but instead as a normal aspect of people's daily life. More precisely, post-digital aesthetics deals with an environment where digital technology became such a commonplace that its existence is frequently no longer acknowledged. Based on the analysis of contemporary artworks and practices inspired by their surroundings, this paper aims to bring those phenomena into consciousness that became unnoticeable in the contemporary digital environment. For this purpose, this investigation goes beyond the formal-aesthetic analysis, but instead focuses on the investigation of the receptive act. Concretely, post-digital aesthetics seeks to describe and analyze the changing modes of perception affected by the increased digitization of one's surroundings. In the context of this analysis, aesthetics is thus understood not as the goal per se, but rather as the means to enhance the understanding of contemporary digital culture.
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Contreras-Koterbay, Scott. „The Teleological Nature of Digital Aesthetics – the New Aesthetic in Advance of Artificial Intelligence“. AM Journal of Art and Media Studies, Nr. 20 (15.10.2019): 105. http://dx.doi.org/10.25038/am.v0i20.326.
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If aesthetic and teleological judgments are equally reflective, then it can be argued that such judgments can be applied concurrently to digital objects, specifically those that are products of the rapidly developing sophisticated forms of artificial intelligence (AI). Evidence of the aesthetic effects of technological development are observable in more than just experienceable objects; rooted in inscrutable machine learning, AI’s complexity is a problem when it is presented as an aesthetic authority, particularly when it comes to automated curatorial practice or as a progressively determinative aesthetic force originating in an independent agency that is internally self-consistent.Rooted in theories of the post-digital and the New Aesthetic, this paper examines emerging new forms of art and aesthetic experiences that appear to reveal these capabilities of AI. While the most advanced forms of AI barely qualify for a ‘soft’ description at this point, it appears inevitable that a ‘hard’ form of AI is in the future. Increased forms of technological automation obscure the increasingly real possibility of genuine products of the imagination and the creativity of autonomous digital agencies as independent algorithmic entities, but such obfuscation is likely to fade away under the evolutionary pressures of technological development. It’s impossible to predict the aesthetic products of AI at this stage but, if the development of AI is teleological, then it might be possible to predict some of the foreseeable associated aesthetic problems. Article received: April 10, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Contreras-Koterbay, Scott. "The Teleological Nature of Digital Aesthetics – the New Aesthetic in Advance of Artificial Intelligence." AM Journal of Art and Media Studies 20 (2019): 105-112. doi: 10.25038/am.v0i20.326.
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Annunziato, Mauro, und Piero Pierucci. „Relazioni Emergenti: Experiments with the Art of Emergence“. Leonardo 35, Nr. 2 (April 2002): 147–52. http://dx.doi.org/10.1162/00240940252940513.
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Progress in the scientific understanding and simulation of natural evolutionary mechanisms may be creating the basis for a new stage in evolution: the coming of artificial beings and artificial societies. Culture itself, aesthetics and intelligence are coming to be seen as the emergent, self-organizing qualities of a collectivity, evolved over time through both genetic and linguistic evolution. This paper sketches the development of hybrid digital worlds, in which artificial beings are able to evolve their own cultures, languages and aesthetics. Finally, the authors discuss their interactive audio-visual art installation Relazioni Emergenti, based on artificial-life environments. In this work, digital beings can interact, reproduce and evolve through the mechanisms of genetic mutation. People can interact with these artificial beings, creating hybrid ecosystems.
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O'Reilly, Rachel. „Compasses, Meetings and Maps: Three Recent Media Works“. Leonardo 39, Nr. 4 (August 2006): 334–39. http://dx.doi.org/10.1162/leon.2006.39.4.334.
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The article explores possible cultural approaches to new-media art aesthetics and criticism through an in-depth appraisal of recent works by three contemporary practitioners from Asia and the Pacific: Lisa Reihana, Vernon Ah Kee and Qiu Zhijie. Particular attention is paid to the issues of place, location and cultural practice in their work, issues currently under-examined in new-media art discourse. The analysis pays close attention to the operationality of the works, the influence of pre-digital aesthetic histories and the richly locative and virtual schemas of indigenous epistemologies that serve to meaningfully expand Euro-American notions of locative media art.
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Khoroshilov, D. A. „Digital mind: mediatization of social cognition in culture, science and art“. Social Psychology and Society 10, Nr. 4 (2019): 9–22. http://dx.doi.org/10.17759/sps.2019100402.
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Psychology of social cognition as the construction of the image of the social world requires addition of the concept of deep mediatization (N. Couldry, A. Hepp). In the frames of modern sociology and cultural-historical psychology it should be talked about the mediatized construction of the image of the world, mediated by the language of mass communication. The code of media language — not verbal, but visual — is analyzed in the epistemological and methodological contexts of the visual turn in the humanities. The realization of this trend in Russian psychology is the aesthetic paradigm of the everyday life (T. Martsinkovskaya, M. Guseltseva, D. Khoroshilov). Its main idea is the comparative analysis of the languages of the scientific concepts and art and media images, what allows to explicate visibility optics of the everyday life in the modern society. The article concludes with the aesthetics and psychological explanation of the phenomena of deep mediatization of social cognition from Nicola Gogol to the popular TV series «Black mirror».
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Martín Prada, Juan. „Network culture and the aesthetics of dissension“. Escritura e Imagen 16 (16.12.2020): 271–84. http://dx.doi.org/10.5209/esim.73038.
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This article addresses the complex relationship between digital activism and Internet art, from the initial proposals in the 1990s up to the present day. The analysis focuses on those projects that have most impacted the convergence of net art and “net-activism” during this period, with a particular emphasis on the relationship between artistic practice and hacktivism. Likewise, phenomena such as virtual sit-ins, DDOS-based strategies and several others that have emerged in the new context of social networks and participatory online platforms (memes, flash mobs, etc.) are analysed, in order to reflect on the new practices of social media art and their potential for specific critical action.
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Hung, Keung, und Jean M. Ippolito. „Time-Space Alterations: A New Media Abstraction of Traditional Chinese Painting and Calligraphy Aesthetics“. Leonardo 53, Nr. 1 (Februar 2020): 25–30. http://dx.doi.org/10.1162/leon_a_01573.
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The artist and scholar Keung Hung argues that traditional Chinese manners of approaching art can be abstracted through digital media, forging new interdisciplinary correlations. He posits that digital media can be used to shift the notions of time and space from traditional Chinese aesthetics into the contemporary art context.
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Simanowski, Roberto. „Literature and digital media: notes on theory and aesthetics“. Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 8, Nr. 1 (28.10.2020): 11–21. http://dx.doi.org/10.14195/2182-8830_8-1_1.
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In this keynote lecture, Roberto Simanowski combines close reading of single works with a media-ontological reading of digital art and digital literature. The folowing works are analysed in detail: Romy Achituv and Camille Utterback’s Text Rain (1999); Bit.Fall (2006) by Julius Popp; Still Standing by Jason Lewis (2005); and Caleb Larsen's The Complete Works of W.S. (2007). The analyses suggest that, while remaining essentially a textual medium, the computer increasingly visualizes communication, thus restoring the pictorial nature of early forms of writing.
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Cramer, Florian. „Post-Digital Literary Studies“. Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 4, Nr. 1 (28.02.2016): 11–27. http://dx.doi.org/10.14195/2182-8830_4-1_1.
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Digital humanities and digital literary studies face much the same challenges as contemporary media art: what will become of them once their media are no longer “new”, and the limitations of processing art as data have become more clearly and widely understood? This paper revisits information aesthetics and computer poetics from the 1960s and 1970s, casting them as precursors of today’s digital humanities, with many of the same issues, achievements and failures, and with their own hype cycles of boom and bust. Conversely, “post-digital” and “Post-Internet” trends in music, graphic design and visual arts may anticipate possible futures of digital humanities and literary studies after the hype has passed.DOI: http://dx.doi.org/10.14195/2182-8830_4-1_1
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Pereira, Selma Eduarda. „“Ecoações”“. International Journal of Creative Interfaces and Computer Graphics 11, Nr. 2 (Juli 2020): 42–53. http://dx.doi.org/10.4018/ijcicg.2020070104.
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The chapter title comes from the fusion of concepts “echo” and “equations.” “Ecoações” contains, from the traditions, the Algarve handmade textiles, the regional pottery, and the characteristic sounds of the customs associated with these activities; from the theater, scenography and costumes; from the fine arts, the sculpture (of the human figure) and the murals in low relief; from digital media art, soundscape, digital interaction, and video projection. In Ecoações, the scenic space invites spectators to immerse themselves in the theme and to visit another dimension of heritage traditions, presented here under a contemporary aesthetic. The installation as scenography space implies all the theatricality of the visual narrative, hearing and tactile, giving the public the opportunity to explore tradition through the various senses. This article discusses the characteristics of the installation “echoes” that bring it closer to post-digital aesthetics and heritage expression, and the challenges of combining the scenic space, the traditions, and the digital media art.
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Nake, Frieder. „The Pioneer of Generative Art: Georg Nees“. Leonardo 51, Nr. 3 (Juni 2018): 277–79. http://dx.doi.org/10.1162/leon_a_01325.
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The pioneer of computer art Georg Nees passed away on 3 January 2016, at the age of 89. He was the first to exhibit computer-generated drawings, in Stuttgart in February 1965. Influenced by Max Bense’s information aesthetics (a rational aesthetics of the object based on Shannon’s information theory), Nees completed his PhD thesis in 1968 (in German). Its title, Generative Computergraphik, is an expression of the new movement of generative art and design. Trained as a mathematician, Nees participated in many early, but also recent, displays of computer art. After retiring from his research position at Siemens in Erlangen, he again concentrated on computer-generated art and researched issues of digital coloring but also wrote several novels expressing his philosophy of a nonreligious, human-made culture.
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Tavrizyan, Alexander V. „Aesthetics of Thomas Newman’s Music to “Six Feet Under” TV Series“. Observatory of Culture 16, Nr. 3 (19.07.2019): 264–77. http://dx.doi.org/10.25281/2072-3156-2019-16-3-264-277.
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This article analyzes the aesthetics of modern Western audiovisual art by the example of the opening titles of “Six Feet Under” TV series (2001—2005). This titles sequence, as well as the series itself, were proclaimed as “cult art” and became widely influential in the US television culture. The visuals of the sequence had been created by a team of Digital Kitchen designers on the basis of music by Thomas Newman, who was a trend setter of the soundtrack genre in the 1990s—2010s. This work is of interest, being one of the most significant in modern mass culture, which allows to analyze the aesthetic trends within the postmodern audiovisual art in general. The research is based on R. Barthes’ method of analyzing objects of mass culture, in which the literal meaning of artistic images and the symbolic one (connotations, metaphors, allegories) are considered separately. T. Newman’s music is analysed by using M. Chion’s view upon soundtrack as both musical work and acoustical image. The article analyzes the coherence between the music, the frame (literal) content of the video, and the connotative (symbolic) meaning of the visual images. The concept of “affect”, taken by the historians-poststructuralists G. Deleuze and F. Guattari from the aesthetic theory of Baroque art, is used to describe similar phenomena in postmodern art. Interviews, additional materials and other sources that tell about the idea of the series’ creators and about its workflow expanded the source base of the study. The audiovisual composition’s analysis revealed the aesthetic techniques of artistic images’ affective (feelings-emotional) transmission, “counterpoint” of allegorical and realistic (naturalistic) images in the visuals and the music, central role of the pairs of images-antithesis (warmth/coldness, movement/static, life/death, and some others). The author concludes that the studied aesthetic model is similar, both in its content and in the form of expression, to the Baroque aesthetics in a modified postmodern form (Neo-Baroque).
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Kowsari, Masoud, und Mehrdad Garousi. „Fractal art and multi-blended spaces“. Virtual Creativity 9, Nr. 1 (01.12.2019): 23–41. http://dx.doi.org/10.1386/vcr_00003_1.
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Abstract Artworks, especially in the last two centuries, have been more created through a process of blending than at any other time. This blendedness is seen not only in many modern and postmodern works of art, from German expressionist woodcuts to Picasso's paintings and spontaneous action paintings of Pollock, but in fractal works of art perhaps more than anywhere else. This study, based on Fauconnier and Turner's blended space and conceptual blending theories, will show how fractal artworks are the result of a multi-blending process. This multi-blending is not only because fractal artworks have roots simultaneously in science, technology and art but also because their creation and understanding is dependent on knowledge of fractal aesthetics. Fractal aesthetics not only makes the artist have a continuous back and forth movement between mathematical, digital and artistic spaces, but simultaneously makes the visitor/audience have such an effort as well.1
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Pereira, Selma Eduarda, und Alexandra Nogueira. „The Destinies of Senses“. International Journal of Creative Interfaces and Computer Graphics 12, Nr. 1 (Januar 2021): 46–60. http://dx.doi.org/10.4018/ijcicg.2021010104.
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During the state of global emergency of the COVID-19 pandemic, online cultural events have multiplied and gained space in our lives. However, this relationship between contemporary art and digital media has been developing for decades. In this paper, the authors cover the curatorial and preparation process for the virtual pavilion The Destinies of Senses that was part of the 4th edition of the digital art biennial The Wrong, which took place from November 2019 to March 2020, bringing to discussion the curation of online exhibitions, aesthetics post-digital, and the creation process of these artists. The authors approach in more detail one of the projects that integrated the exhibition and that combines fashion production, print media, and digital art.
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Versteeg, Maarten, und Johanna Kint. „Exploring aesthetics through digital jewellery“. Design Journal 20, sup1 (28.07.2017): S184—S195. http://dx.doi.org/10.1080/14606925.2017.1352737.
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Daryan, Nika. „Bildtechnologien der Hypersphäre“. Vierteljahrsschrift für wissenschaftliche Pädagogik 94, Nr. 1 (19.04.2018): 89–101. http://dx.doi.org/10.30965/25890581-09401008.
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In this paper, a mediological perspective of digitization is used to contribute to a broader understanding of digital education through historical- and pedagogical-anthropological concepts. The importance of aesthetics for digital education concepts is emphasized and traditional elements of educational image-thinking become problematized. The article concludes with an art-related reflection on school competences.
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López Gabrielidis, Alejandra, und Toni Navarro. „The Digital Sublime: Orientation Strategies for a Vertiginous World“. Temes de Disseny, Nr. 37 (22.07.2021): 226–43. http://dx.doi.org/10.46467/tdd37.2021.226-243.
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This article addresses the increasing levels of complexity and abstraction that digital technologies produce, which generate a feeling of amazement nowadays similar to what the philosophy of art and aesthetics deemed the experience of the sublime. Through the idea of the “digital sublime”, we aim to find ways to find direction in this vertiginous world. Our intention is to research the extent to which art and design can function as mediators of scales that translate the digital sublime into concrete images that are more digestible, as well as easy to understand and perceive. We believe this is one of the challenges that these disciplines must face in our era governed by extra-human scales, both technological (the cloud, artificial intelligence, 5G, etc.) and geological (the Anthropocene and global climate change). With this in mind, we will analyse the work of several artists whose careers reflect their commitment to these issues.
If we, and our bodies, are constantly translated into data, can art and design reverse meaning and make our data transform into bodies in such a way as to produce an aesthetic (sensible) experience of them? Can this help us to understand digital infrastructure and its materiality in a more intuitive and approachable way so that a body can imagine and/or visualise it? Can these actions encourage the production of collective emancipation strategies that allow us to be active agents when reconfiguring the governance and algorithmic regulations imposed on us?
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Evallyo, V. D., und V. P. Krutous. „“Humanization” of Art: Museums on the Internet“. Art & Culture Studies, Nr. 1 (2021): 222–43. http://dx.doi.org/10.51678/2226-0072-2021-1-222-243.
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In this article, the digital museum is examined through the perspective of the “humanization” processes, which is the reorientation of museums to reach the widest audience and to introduce works of art in media discourse. First of all, these problems cover the transformation of the usual communication between museums and their visitors. Thus, new accents are formed and landmarks are shifted from a work of art to its recipient. The purpose of this study is analyzing the visual component of museums’ websites, cultural research of digital content. As a result of the release of museums and their material and cultural archive in the field of mass culture, access to works of art, and its informational, expert support are realized, but also a kind of desacralization of cultural objects is fixed. The article concludes that the range of visual shows presented in digital museums is wide and relies largely on game aesthetics, on the possibility of interactive manipulation of website content.
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Morgan, Trish. „Sharing, hacking, helping: Towards an understanding of digital aesthetics through a survey of digital art practices in Ireland“. Journal of Media Practice 14, Nr. 2 (01.01.2013): 147–60. http://dx.doi.org/10.1386/jmpr.14.2.147_1.
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Balanzategui, Jessica. „Creepypasta, ‘Candle Cove’, and the digital gothic“. Journal of Visual Culture 18, Nr. 2 (August 2019): 187–208. http://dx.doi.org/10.1177/1470412919841018.
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Throughout the past decade, a multimodal type of internet storytelling has developed that extends upon the early Web 2.0 viral narrative practices of chain emails as well as pre-digital folkloric storytelling traditions such as the ghost story and urban legend. This popular mode of digital storytelling, known broadly as ‘Creepypasta’, is produced and consumed according to folkloric practices that in turn shape its form and aesthetics. The author suggests that a precise genre has emerged out of the originally wide-ranging terrain of Creepypasta, a generic mode constituted of specific thematic preoccupations and aesthetics that she refers to as ‘the digital gothic’. Through analysis of the foundational story ‘Candle Cove’, the article outlines the digital gothic’s anxious preoccupation with dead and residual media, and with the interface between technological and personal change. She demonstrates how ‘Candle Cove’ deconstructs nostalgia in its tense negotiation of the relationship between analogue and digital cultures. The author’s analysis thus illuminates how vernacular online genres such as the digital gothic productively work through the aesthetic and conceptual tensions underpinning technological change in the networked digital era.
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Rautray, Priyabrata, und Boris Eisenbart. „ADDITIVE MANUFACTURING – ENABLING DIGITAL ARTISANS“. Proceedings of the Design Society 1 (27.07.2021): 323–32. http://dx.doi.org/10.1017/pds.2021.33.
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AbstractNew technologies have always been disruptive for established systems and processes. Additive Manufacturing (AM) is proving to be one such process which has the potential to disrupt handicraft and its manufacturing processes. AM is customisable, adopt multiple materials and is not restricted by the manufacturing process. Our research discusses this global phenomenon with case studies to highlights the growth of a new kind of professionals known as ‘Digital Artisans’. These artisans will assimilate the latest technologies with the cultural practices of the societies to create a new genre of products. The evolution of such artisans will be majorly led by people who have an equal inclination towards art and science and can act as the bridge between the handicrafts and technology. The development of such artisans will be supported by academics that will serve as a cradle and expose them to AM, design and handicraft. Its will also help in paving the growth of contemporary artisans who will utilise the strength of algorithms, artificial intelligence, CAD software and traditional aesthetics to create handicrafts of the future.
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Pype, Katrien. „Beads, Pixels, and Nkisi: Contemporary Kinois Art and Reconfigurations of the Virtual“. African Studies Review 64, Nr. 1 (März 2021): 23–40. http://dx.doi.org/10.1017/asr.2020.74.
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AbstractIn the 2016 Abiola Lecture, Mbembe argued that “the plasticity of digital forms speaks powerfully to the plasticity of African precolonial cultures and to ancient ways of working with representation and mediation, of folding reality.” In her commentary, Pype tries to understand what “speaking powerfully to” can mean. She first situates the Abiola Lecture within a wide range of exciting and ongoing scholarship that attempts to understand social transformations on the continent since the ubiquitous uptake of the mobile phone, and its most recent incarnation, the smartphone. She then analyzes the aesthetics of artistic projects by Alexandre Kyungu, Yves Sambu, and Hilaire Kuyangiko Balu, where wooden doors, tattoos, beads, saliva, and nails correlate with the Internet, pixels, and keys of keyboards and remote controls. Finally, Pype asks to whom the congruence between the aesthetics of a “precolonial” Congo and the digital speaks. In a society where “the past” is quickly demonized, though expats and the commercial and political elite pay thousands of dollars for the discussed art works, Pype argues that this congruence might be one more manifestation of capitalism’s cannibalization of a stereotypical image of “Africa.”
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Bešlagić, Luka. „Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary“. AM Journal of Art and Media Studies, Nr. 20 (15.10.2019): 51. http://dx.doi.org/10.25038/am.v0i20.323.
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This paper explores a recently emerged audiovisual form called desktop documentary, an interdisciplinary computer-based variant of the essay film. As a post-media practice, no longer exclusively dependent on the film medium, desktop filmmaking represents a hybrid audiovisual genre entirely conducted in the digital environment by using and exploiting preexisting materials in new contexts while using the advantages of the Internet, widely used software and digital tools. Desktop documentary filmmaking corresponds to the widespread artistic practice of postproduction – a concept introduced by Nicolas Bourriaud signifying a new state of affairs when all texts of culture are already available (mostly as digital objects) and the artist intervenes on existing materials rather than produces artworks ex nihilo. Belonging to the tradition of essay film – a cinematic documentary and experimental mode in which moving images and off-screen verbal voice or textual captions establish complex relations – desktop video essays introduce new post-media aesthetics. Similar to the idea of using everyday materials in the artistic context, initially proposed with Duchamp’s ready-mades, which unprecedentedly effaced every notion of the style from their avant-garde aesthetics, desktop documentaries often minimize and abolish cinematic stylistic qualities. One of the most significant aspects of desktop documentaries is that the act of film viewing does not differ from common computer user experience: having replaced traditional film screen with the computer interface, the interactive process of computational multitasking and navigation, performed on various digital data and files, becomes the very content of the film. After the historical overview of the phenomenon and general introduction into the post-media theory, selected works of representative desktop documentarists such as Kevin B. Lee and Louis Henderson are analyzed in their deconstructive approach to traditional and digital filmmaking – subversive both formally and politically. Article received: May 28, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Bešlagić, Luka. "Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary." AM Journal of Art and Media Studies 20 (2019): 51-60. doi: 10.25038/am.v0i20.323.
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Novikov, Vasily N. „Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?“ Journal of Flm Arts and Film Studies 10, Nr. 1 (15.03.2018): 54–63. http://dx.doi.org/10.17816/vgik10154-63.
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Abstract: According to recent research, video games are recognized as a new kind of art in the 21st century. Is it possible to distinguish the concepts of "entertainment" and "art" when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of "personal management" of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling, and virtual aesthetics modernized the classical thesis of "life as a game" into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global "game world" in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to the cinema, using professional directing, scriptwriting and cast. On the other hand, mainstream fiction of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for the contemporary mass audience.
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Novikov, Vasily N. „Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?“ Journal of Flm Arts and Film Studies 10, Nr. 2 (15.06.2018): 50–60. http://dx.doi.org/10.17816/vgik10250-60.
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According to recent research, video games are recognized as a new kind of art of the 21st century. Is it possible to distinguish the concepts of entertainment and art when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of personal management of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling and virtual aesthetics modernized the classical thesis of the life as a game into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself to be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global game world in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to cinema, using professional directing, scriptwriting and cast. On the other hand, mainstreamification of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for contemporary mass audience.
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Holmes, Ros. „Meanwhile in China … Miao Ying and the Rise of Chinternet Ugly“. ARTMargins 7, Nr. 1 (Februar 2018): 31–57. http://dx.doi.org/10.1162/artm_a_00199.
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This article examines a series of internet artworks by the artist Miao Ying (b. 1985). Contextualizing her digital collages in relation to China's online culture and media spheres, it situates the contemporary art world's engagement with internet art in relation to anti-aesthetics and the rise of what has been termed Internet ugly. Interrogating the assumption that internet art emerging from China can only belatedly repeat works of Euro-American precedent, it argues that Miao's work presents a dramatic reframing of online censorship, consumerism and the unique aspects of vernacular culture that have emerged within China's online realm. Demonstrating a distinctly self-conscious celebration of what has often disparagingly been labeled The Chinternet, Meanwhile in China can be seen to emerge out of the broader contradictions of internet art practices that parody the relationships between The Chinternet and the World Wide Web, global capitalism and Shanzhai [fake or pirated] aesthetics, online propaganda and media democracy, and the art market's relationship to the virtual economies of an art world online.
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Michelsen, Lea Laura. „Thinking Beyond Biometrics“. A Peer-Reviewed Journal About 7, Nr. 1 (06.07.2018): 36–49. http://dx.doi.org/10.7146/aprja.v7i1.115063.
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Today, digital biometrics are proliferating. Based on scans of biological traits – from faces, fingerprints and gait to vein patterns, heart rhythm, brain activity, and body odor – biometrics are known to be able to establish the identity of a human subject. When reading humanities research on biometrics, though, it becomes evident that we are altering a lot more than just our faces. This article proposes a study of a wave of artistic counter-biometrics in order to enable thinking beyond the biometric box, practicing the ‘art of disappearing’ from the biometric gaze. With an outset in Zach Blas’ Face Cages (2013- 16) and his “Fag Face” mask from Facial Weaponization Suite (2011-14) the article argues that biometrics produces an aesthetics, and that it should be treated as such. This shifts our perspective from the technical media to the narratives we inscribe in these media and the aesthetic output enabled by that. Activating a counter- biometric aesthetics is far from naïve. On the contrary, engaging in the aesthetics of biometrics is a valuable and urgently needed research strategy for dealing with the physiognomic renaissance biometrics brings about.
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Fetveit, Arild, und Gitte Stald. „Online debate on digital aesthetics and communication“. Northern Lights: Film and Media Studies Yearbook 5, Nr. 1 (07.09.2007): 141–58. http://dx.doi.org/10.1386/nl.5.1.141_7.
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Bjoernsten, Thomas. „Data aesthetics - between clouds of information and subjective experience“. MedieKultur: Journal of media and communication research 31, Nr. 59 (08.03.2016): 24. http://dx.doi.org/10.7146/mediekultur.v31i59.20237.
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This article takes it point of departure from a three-year research project entitled “Making sense of data – understanding digital reality through contemporary artistic practices of visualization and sonification”. As the project does, so will this article focus on the analysis of specific practices and artefacts, occupied with exploring digital formats and data through both visualization and sonification strategies (the latter referring to the task of turning data into audible sound), thus, expanding the use of large data sets into the sphere of art and the aesthetic. The article will critically discuss such artistic renderings of what might be termed as ‘Big Data’ and how these various data-translations are presented in the form of artefacts, installations, and performances that establish different aesthetic experiences and effects. A further point developed within the article will be how the examples addressed here diverge according to the data sets used, as something either drawn from large public and (mostly) accessible databases or individually collected data.<div> </div>
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Martin, Fred. „The Horse and the Cart: The Contemporary Artist and the Aesthetician“. Empirical Studies of the Arts 13, Nr. 2 (Juli 1995): 119–30. http://dx.doi.org/10.2190/wtge-fm8u-7etu-dgdp.
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This informal survey of magazine covers and lead articles from Art in America 1990–1993 indicates new artistic forms such as advertising and photo journalism, new media such as digital imaging and installation, and new contents such as the politics of race, gender, and revolution, all of which may challenge the assumptions of both empirical and philosophical aesthetics.
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Mukhida, Leila. „Violence in the Age of Digital Reproducibility: Political Form in Valeska Grisebach's Longing (2006)“. German Politics and Society 33, Nr. 1 (01.06.2015): 172–85. http://dx.doi.org/10.3167/gps.2015.330113.
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While public discussions about media and violence tend to be defined by the negative psychological effects attributed to exposure to mediated depictions of violence, this article argues that the mediated violence in Valeska Grisebach's 2006 film, Longing, (Sehnsucht) instead seeks to heighten viewers' sensitivity towards violent acts in moving images. Grisebach rejects the so-called MTV aesthetic and instead employs formal and narrative devices that may be read in political terms. To illuminate the connection between film aesthetics, violence, and mass (dis)engagement with politics, this article draws upon the argument rehearsed in Walter Benjamin's oft-cited essay, “The Work of Art in the Age of its Technological Reproducibility” (1936). Given that we are witnessing changes in the ways that we experience and re-present our reality now that are arguably as significant as the birth of the moving image itself, it is pertinent to look to early twentieth-century cultural theory in order to gain a better understanding of the significance of these transformations in a historical context. By reading the violent incidents in Longing through a Benjaminian lens, this article suggests that the film is a political act by Grisebach, as well as a key political work in the field of contemporary German-language cinema.
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Lēvalde, Vēsma. „Digimodernisms teātrī: perspektīva un naratīvs“. Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, Nr. 25 (04.03.2020): 276–85. http://dx.doi.org/10.37384/aplkp.2020.25.276.
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The digital era has created a new form of textuality, defined ten years ago by British cultural critic Alan Kirby as digimodernism, manifested in both literature and art, and gradually replacing postmodernism. The new media-language theorist Lev Manovich sees similarities in digital art and the aesthetics of the Left Avant-Garde of the 1920s, as well as cinema. In the early and middle 20th-century cinema development produced an impact on modernism art. In the 21st century, digital technologies emerging from film aesthetics leave the footprints in contemporary art and theatre. Identifying the key principles of Kirby’s theory in particular productions allows partial revising Hans-Thies Lehmann’s concept of post-dramatic theatre, and raising a thesis on digimodernism as one of the contemporary tendencies in theatre. Thus, fundamental categories of theatrical language – space, time, character, narrative – are becoming relevant. The article aims to research the narrative in digital art and look for a similar strategy of sense construction in theatre productions, drawing conclusions on the effects of digimodernism on theatre. If a narrative is perceived as a sign system, there are two dimensions – the syntagmatic or “real narrative” and the paradigmatic or a range of choices from which narrative is selectively created. Manovich’s theory proves that in new media language paradigm and syntagma interchange, therefore the paradigm becomes a sense-bearer. Similar principles are applied in modern theatre directing. A typical example is the selected production by Latvian director Elmars Senkovs based on the classic play “Blow, wind!” (Pūt, vējiņi!) by Latvian poet and playwright Rainis. The author of the research concludes that the principles of digimodernism in theatre can change the visual perspective of the stage space, namely, the concepts of “downstage” and “upstage” are often replaced by the terms “top” and “bottom”, making the stage “flat”, similar to a screen. Meanwhile, the central perspective or the narrative as a sense-construction strategy still depends on the intellectual capacity and emotional sensitivity of theatre-makers as interpreters.
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Proksell, Michelle, und Gabriele de Seta. „A Cabinet of Moments: Collecting and Displaying Visual Content from WeChat“. Cabinet, Vol. 2, no. 2 (2017): 88–94. http://dx.doi.org/10.47659/m3.088.art.
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The Chinternet Archive is a collection of tens of thousands of digital images that artist Michelle Proksell has been collecting over years of everyday use of Chinese social messaging app WeChat. These images all come from public WeChat accounts that Michelle finds through a location-based function of the app called “People Nearby”. By regularly exploring the social media profiles of individuals in a one-kilometer radius from her geographical position, Michelle has been able to collect visual content shared by WeChat users in several Chinese cities as well as ten countries around the world. From filtered selfies to cheesy graphics, and from recurring themes of vernacular photography to emerging genres of postdigital aesthetics, the images collected in the Chinternet Archive offer precious and intimate insights into the everyday lives of Chinese digital media users. This essay introduces Michelle’s collection, presents various research projects and artworks through which the authors have made use of the archive, discusses the potentialities of working with visual content as well as the dangers of appropriating found images in the era of ubiquitous photography. Keywords: archive, China, found images, vernacular photography, WeChat
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Whalley, Ian. „Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages“. Organised Sound 17, Nr. 1 (14.02.2012): 4–15. http://dx.doi.org/10.1017/s135577181100046x.
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Using Internet2 for audio performance, supported by digital video communication between players, provides the opportunity for networked electroacoustic music practitioners to connect with, bridge, amalgamate and lead diverse sound-based music traditions. In combination with intelligent/multi-agent software, this facilitates new hybrid sonic art forms. Extending prior work by the author,Mittsu no Yugo(Whalley 2010a) recently explored this direction. While Internet2 expands production/aesthetic possibilities, accommodating established aesthetics in tandem requires careful consideration. Beginning from a prior model of a decision space (Whalley 2009), the paper discusses the extended decision terrain and choices that Internet2 brings, and some of the compromises that need to be made to realise the proposition. The paper is then part conceptual map, and part artistic perspective.
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Kahn, Douglas. „Prelude to Live Cinema“. Journal of Visual Culture 10, Nr. 2 (August 2011): 255–65. http://dx.doi.org/10.1177/1470412911402913.
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This article investigates the increasingly prevalent discourse of ‘live cinema’ as the name of a concrete practice and conceptual aspiration within contemporary media aesthetics. The author argues that this oxymoronic conjunction encapsulates certain fundamental questions recurring throughout the history of 20th-century art in its increasingly important intersection with both media technology and performance. Contrasting contemporary digital ‘interfaces’ with classical musical instruments, he asks how traditional forms of embodiment and virtuosity have been transformed within contemporary audiovisual performance. Finally, he explores ideas of speed and the cut from Sergei Eisenstein’s film theory to explore Abigail Child’s 1983 film Mutiny as a work that, while not itself ‘Live Cinema’, sheds important light on what such a future aesthetic might conceivably entail.
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Horrocks, Roger. „The dance of the hand: Len Lye’s direct films“. Animation Practice, Process & Production 8, Nr. 1 (01.12.2019): 33–45. http://dx.doi.org/10.1386/ap3_00003_1.
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Len Lye’s animation has a special relationship with physical materials and the body because of the ways he drew and scratched his images directly onto film. This article considers what is unusual about his aesthetic, with its emphasis on kinaesthetic styles of viewing and on ‘physical empathy’. Tracking Lye’s film work from the 1930s through the 1950s, it draws connections with the body-oriented aspects of abstract expressionist art. It also relates the films to Maurice Merleau-Ponty’s ‘embodied’ approach to phenomenology. Today Lye’s films need to be digitized, and that transfer raises interesting questions about the differences between analogue and digital aesthetics. What happens when his films move from the ‘black box’ of the cinema to the ‘white cube’ of the gallery or museum where they are digitally presented? The article also considers Lye’s kinetic sculpture as another body-oriented form of animation, in which the motor replaces the projector. His sculpture again raises questions about mixing the analogue with the digital.
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Van Schepen, Randall. „Contemporary Misticism: Recovering Sensible Aesthetics in an Age of Digital Production“. Religions 10, Nr. 3 (12.03.2019): 186. http://dx.doi.org/10.3390/rel10030186.
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Materialist accounts of artistic development emphasize the ongoing revolution of media in the progress of history. Amongst the most popular accounts of modernity are Walter Benjamin’s essays on the relationship of photography to traditional art. His account of the loss of aura has been subject to countless reinterpretations since its publication. The present essay addresses the contemporary production of a number of architects and artists whose work provides an interesting challenge to the Benjaminian account of the secularization of artistic ritual. The artists Adam Fuss, Vera Lutter, Alison Rossiter, Sally Mann, and others have recently been exploring photographic methods that contradict the Benjaminian account of the history of photography. They continue to explore techniques that Benjamin placed in the auratic pre-paper-print era, such as Daguerreotypes and photograms, as well as employing other more material/chemically based effects. Such artistic choices are often considered nothing more than a nostalgic reverie trying to stem the tide of materialist history, a flawed search for a lost aura of presence. However, when these works are set against the backdrop of contemporary digitized production and of the Dusseldorf School as well as most other contemporary photographers, these “retro” works stand as a critical counterpoint to our present seamless digital imperium. The soft and hazy effects of these works, what I am calling their misticism, occludes the particularity of digital bits of information in a search to connect to the material and the sensual, something denied by information-saturated technologies. Even within a materialist approach to history, there is room to view these architectural and artistic effects as critically productive rather than merely retrograde. The present essay argues for the timely relevance of contemporary retro-photographic techniques in fostering both a critical attitude and as evidence of attempts to recover a sense of spiritual presence.
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Legrady, George. „Perspectives on Collaborative Research and Education in Media Arts“. Leonardo 39, Nr. 3 (Juni 2006): 215–18. http://dx.doi.org/10.1162/leon.2006.39.3.215.
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Digital arts is by nature a hybrid practice, integrating the poetics, aesthetics and conceptual strategies of art with the logical, systematic methods of technological processes from engineering and the sciences. This article reviews the development of interdisciplinary, collaborative arts-engineering research and education at the University of California at Santa Barbara, focusing on the Media Arts & Technology graduate program from a visual/spatial arts perspective.