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The impact of technology on graphic art
Essays on the evolution of digital art
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Introduction It is clear that art is a creative process spanning across various discipline’s, platforms and genres; weather we talk about a canvas painting, a collage of stills placed strategically placed on a wall or in research case a piece of audio or video or a combination of both being manipulated by a performer/viewer (PV) in a specific space. ONCE UPON A TIME, visual art was simple: it originated with an artist’s conception and craft, which the viewer acknowledged and then strove to understand while standing before the object . (Simanowski 2011) Each one of these has its own creative process with one simple shared goal at the end for someone to view it. In this case we hope to research digital art and to be more specific interactivity in digital art. The idea of interaction by the performer/viewer as well as the link between the artist and the technologies employed for the interaction will be explored, we will also glance at the aesthetic of digital art and how a piece is shaped as well as the link between the viewer and the environment or space and how it looks when the PV interacts with it. Over the last forty years or so the boundaries of digital art have been and are still being pushed into new directions. Much of this is down to more research into the field as well as greater developments in both hardware and software, but some argue that the best development of all is the interdisciplinary communication between artists and engineers along with other technological specialists, which twenty or thirty years ago was not all that common. From the research it became clear that when one approaches an interactive art piece we are not quite sure what we may be doing, we could be watching a video piece, pus... ... middle of paper ... ...entioned previously in the introduction we know that interactivity in digital art is a relativity new concept and of course like anything new, things will develop. Technology and computers will continue to develop, and as a result of this interactive art will also develop, but the core categories mentioned will be paramount during the creative process for any artist approaching and designing an interactive digital art piece or system. It is without question that space, playfulness and the framework outlined by Cornock and Edmunds will remain an integral part of interactivity in digital art even with the developments that are undeniably going to occur in the potential of technology. Interactive digital art is a rapidly growing form of art. Its ability to communicate and engage an audience is powerful and artist have only just begun to take advantage of its potential.
People usually expect to see paintings and sculptures in Art Galleries. Imagine the surprise one finds when they are presented with a man stitching his face into a bizarre caricature, or connected to a machine which controls the artist’s body. These shocking pieces of performance art come under the broad umbrella that is Postmodernism. Emphasis on meaning and shock value has replaced traditional skills and aesthetic values evident in the earlier Modernist movements.
Art made with video is not the type of artwork that comes to mind when a museum is mentioned. Combining video with sculpture is a very unique form of art that a few have explored successfully, such as Tony Oursler. Oursler has taken art into another realm with video that could not have been thought imaginable as he brings his sculptures to life and gives them personality while touching on topics that are considered part of people’s private lives and human behavior. The Reserve Channel is available. Sitting and observing one of Oursler’s sculptures evokes a different experience in comparison to looking at an inanimate sculpture or two-dimensional artwork.
Art has been around for as long as humanity has existed, and it is much more than just drawings or paintings. Art is what every a person makes of it. Art can be drawings, paintings, writings, or even dancing, but never is it contained to just one of those things. As we explore just two aspect of art it is important to realize that there is no right or wrong way to look at the art. Art comes in many different forms, in which they are all interpreted a little differently by different people. For me, when I read a poem I do not instantly know what the poet is trying to say and I don’t find it as interesting, but when I look at a painting so many more thoughts comes and I can’t help by imagine what that artist was thinking while he was painting.
It is well known that in the past, Renaissance artists received their training in an atmosphere of artists and mathematicians studying and learning together (Emmer 2). People also suggest that the art of the future will depend on new technologies, computer graphics in particular (Emmer 1). There are many mathematical advantages to using computer graphics. They can help to visualize phenomena and to understand how to solve new problems (Emmer 2). “The use of ‘visual computers’ gives rise to new challenges for mathematicians. At the same time, computer graphics might in the future be the unifying language between art and science” (Emmer 3).
Visual arts have, over time, extended from their traditional forms of drawing, painting, sculpture and printing to include more improved forms such as installations and interactive works. The new techniques and methods being embraced by the visual arts field have enabled it to spread to even larger environments such as the media. The extension of art works has caused a considerable conflict concerning the definition of an artwork. Due to this reason, it has been difficult for the judiciary to decide on how to execute the protection of copyrights and the susceptibility of artwork to other additional benefits such as tax exemption or reduction. Viewing it from a general perspective, art can be considered as a multidisciplinary comprising of a
There are many artist who are using technology to create magical pieces of art since the technology became easily accessible to the public. These artist strive to use technology to create fascinating art pieces to show off competing against each other for the spotlight. After viewing a few of the artist in class and looking at their art, Stelarc’s art caught my attention. Stelarc uses technology in ways which I would not have thought, while incorporating it to actually make it into art.
Virtual and digital technologies are rampant in American culture and thoroughly utilized in entertainment mediums like television, movies, magazines, and video games. Our capitalist economy creates a fertile environment for these mediums to prosper by feeding off the public's hunger for entertainment. Because these industries are in such high demand and accrue billion dollar revenues, new technologies are often conceived in and funded by these trades: "For, in essence, all socially relevant new image media, from classical antiquity to the revolution of digital images, have advanced to serve the interests of maintaining power and control or maximizing profits" (Grau 339). That being the case, new technologies "hardly ever…advanced solely for artistic purposes" (Grau 339). Because "power" and "profits" are the central means of motivation in our culture; art, in the classical sense, is often an afterthought. In an age where entertainment and art intertwine, however, distinctions between the two based upon their creation are impossible. With advances in technology and, in turn, art, our ideas and traditions of comparison should also develop to justly analyze new media: "Although art history and the history of the media have always stood in an interdependent relationship and art has commented on, taken up, or even promoted each new media development, the view of art history as media history…is still underdeveloped" (Grau 4). In order to embrace virtual art as a valid outlet of artistic expression, its relationship to media and unique position in the history of art must first be acknowledged.
In times, we often see things, but we don't really capture what is beyond it. In some cases, there are people who are artistic and are prone to see what other's cannot visualize. Every individual has a talent which can be expressed and processed differently. Something you see can mean entirely divergent things to someone else;for example, some may see thing's that may seem simple, but in the eyes of an artist, it can be perceived with a whole new definition, dimension, and a potentially new discovery. As a photographer, my view of the world, can be skewed towards looking at everyday objects as potential art, but it wasn't always like that.
Art can be seen in every culture and country around the world in many different forms and styles. The only way to be able to see and experience different types and styles of art is to travel around the world and see it at museums. Unless a local museum features different artwork from around the world; there is a rare chance that a person may be able to appreciate different types of artwork from around the world. However, today’s technology has given more people a chance to appreciate art from around the world through virtual museums online.
directly. The rise of what is known now as a 'digital art' or 'internet art' reaches beyond the
In conclusion perception and reception are two functions of equal of importance in our experience of viewing the image, but also the focus is no longer in the artist instead is in the viewer. Art is a record of perception shape by our previous representation. And the power of the art is expected to be between the viewer and the image, but such experience can still altered and manipulated.
Solso, Robert L. The Psychology of Art and the Evolution of the Concious Brain. Cambridge, Massachusetts: The MIT P. 13-21.
The advancement of technology has expanded the boundaries of video art. Now mobile phones, such as the iPhone, are using augmented reality applications to alter the way art is perceived. Augmented reality superimposes digital effects on a live stream from a mobile phones camera.Video artists are concerned that their work might be misidentified as films. This anxiety leads them to seek out venues for their work (warehouse art galleries and hard-to-find back-room viewing rooms) that will grant them the power to have it appreciated on its own terms. Artists may care about a disembodied feel of a projected work in a more open-air setting, or they may want to take advantage of the sculptural qualities of placing one or many TV monitors in the gallery space. For genuine aesthetic reasons, many great works of video art are not meant to be seen on someone’s TV or laptop at
Rush, in New Media and Paul, in Digital Art, both discuss the use of advance technology in the art world, from creating works using artificial intelligence to creating a virtual reality for the audience to be immersed into. After reading about projects such as If, Then created by Kenneth Feingold in 2001 or Giver of Names by David Rokeby, 1991-today viewers are left to question what the line is between technology and art. Where does one aspect end and the other begin, or does such a line exist anymore? Some may even argue that society has reached the point where one does not exist without the other.
Defining Computer art can be difficult to say, but it’s basically any form of art, graphic or digital imagery, and that is made from computers. Arts made from computers can take various forms, such as an image, sound, animation, and video. Computer-generated art is revolutionary because of its potential to become artistically independent. However, many critics questioned, when it first appeared, that whether it was truly art, and if concepts such as “meaning”, “expression”, or “form” could still be applied to computer art? Furthermore, as technology progresses, so did the creativity of computer artists and their artworks which have slowly become accepted within the art world. Today, many people refer computer art as digital art or new media