It models an horizon of human cognition with a perspicacity and, indeed, aesthetic presence that is not available through understanding alone; it also models the more metaphysical context which this horizon makes intelligible, namely, growth, movement, and dissolution as a cycle of Being.
Of course, one might film processes of change with a view to evoking this context. One might even do it through the computer animation of abstract forms. However, the particular idiom employed by Redl in this work has a digital imprimatur that is ruthlessly minimal.
There are no figurative distractions. The relation between extensive and intensive magnitude is presented as process with an extraordinary aesthetic purity. The main point to gather, then, is surprisingly simple. Digital configurations that visually affirm the imprimatur of their digitality, have an intrinsic aesthetic fascination. The realm of technology here conjures up the sensory in terms that sometimes seem more real than reality itself.
This creates a unique aesthetic space that intervenes upon both perception and our experience of finite existence. Generally speaking, this does not require any recognition or wonder at the origins of the image or at how we interact with the computer. For example, in the case of ordinary computer games, the player is immersed psychologically in an interactive process that leads to a successful outcome or defeat. The originator of the game, and the character of the programme may sometimes elicit admiration from the players, but this is not the purpose of the game nor is it a requirement in order for it to be played.
With other works and programmes, in contrast, attention becomes focussed on the particular identity of the visual creation. This is the realm of digital creation regarded as art. Throughout this book we will encounter many different and powerful embodiments of the digital imprimatur that embody the aesthetics of quasi-magic in very different ways. In emphasizing the aesthetic factors just discussed, we are responding on the lines set out in our Methodological Prologue to further points raised by Andreas Broeckmann.
In contrast, an approach that highlights the experiential qualities of art, and the aspects of reception, is more likely to identify an aesthetic continuum between analog and digital aesthetics.
This approach implies that, in this respect, media art should not be discussed in separation from contemporary art practice in general. This is a new approach. The existing philosophical literature such as it is , and more technically orientated writing, tend to describe digital works one after another, without offering any detailed phenomenology of the relation between their technical dimension and experiential aesthetics.
It is time to fulfil this potential. The present work offers a way of doing so through its integration of technical innovation and aesthetic response on the basis of the digital imprimatur.
It also presents detailed ideas supplied by many of the artists themselves in the course of correspondence with the author.
It must be emphasized that the book is not intended to be a comprehensive history of digital art that would address world-wide developments down to the present. It seeks, rather, to investigate how such art emerged in the early stages of the Postmodern era - from around to the first decade of the present century, and on the key structural aesthetic features that this emergence brought with it.
For the most part, these developments centered on Europe and America, initially. The organization of the book is as follows. His work is an early exemplar of the Postmodern naturalization of technology. These early developments were orientated towards digital abstraction. Remarkably,, it was in the context of abstraction, also, that digital art first systematically engaged with three- dimensional illusion.
In Chapter 3, this is investigated. This emphasis is maintained in Chapter 4, also. Here the curiously difficult historical development of digital figuration is discussed with reference to the methods and achievements of the most influential artists involved.
In the course of the discussion, it will have become clear that the possibility of many modes of hybridization between different idioms of digital art have emerged in the Postmodern era.
Finally, in Chapter 6, we identify varieties of interactive digital art, namely environmental remodelling, detection interactivity, active interfacing, immersiveness, and net access and downloading. These are considered individually and in combination. Despite being a survey book, it also has intellectual depth in how it discusses its selected examples. It is, accordingly, a text that has been able to adapt to important changes in its subject-field, as that field has developed and expanded.
The book achieves an excellent balance between technical issues, and points concerning the more general significance of the works addressed.
It offers a concise treatment of the different theoretical and historical terms that relate to digital work. In contrast with these four works, the present book focusses specifically on the aesthetics of digital graphics in a Postmodern context.
This difference between this and the other works just mentioned is actually complementary - each fills out issues that the other does not address.
It is also worth noting MediaArtHistories, ed. This is an interesting collection of essays that ranges across a variety of topics relevant to the development of digital art. Harry Zohn, Verso, London, , pp. This reference, section VIII.
This reference p. Jasia Reichardt, London, September , pp. It is methodologically sophisticated and well-balanced in terms of issues of creation and response. Another useful contribution is Grant D. This is an excellent study of the critical reception of computer art, that raises many complex interpretative issues.
Taylor has a very different orientation from the one taken in the present work. In particular, he pays much more attention to the aesthetics of the mathematical and scientific aspects, than has been possible here. The possibility of aesthetic responses that are unique to digital art is not even addressed. What makes computer interactivity different is the distinctive role played by digital technology in securing unique aesthetic effects, but, as just noted, Lopes does not address this.
Mark B. And London, England; is an interesting attempt to do justice to the role of the body in the experiencing digital artworks. Postmedia Discourses. A Working Paper. By Andreas Broeckmann. Download PDF.
Report DMCA. Home current Explore. Words: Pages: 2. The term 'relational aesthetics' was coined in by French theorist and curator Nicolas Bourriaud. Relational aesthetics is a theory of aesthetics in which artworks are judged based upon the inter-human relations which they represent, produce, or prompt Bourriaud According to Bourriaud, relational art encompasses "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.
The artwork here consists of creating a social environment in which people come together to participate in a shared activity. Bourriaud claims "the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever scale chosen by the artist. In relational art, the audience is envisaged as a community. Rather than the artwork being an encounter between a viewer and an object, relational art produces intersubjective encounters.
The artist imbues the objective world with meaning "the architectural work is in stone, the carving is in wood, the painting in color, the linguistic work in speech, the musical composition in sound" p. The "thingly element" is a consequence of an artistic attribution or contribution to the object.
The symbol as a thing in the world is more than the object itself. It becomes more than its objectivity. As a symbol, the work of art "brings together" the artist's creative imagination, the objective world and a public or private forum to conceptualize the significance and meaning of the work. The work is always informed by context. This visual representation directs the perceiver to the concept of justice.
The colors, in this example are themselves insignificant. Thing and Work: To understand what art is, Heidegger has to understand the "thingly" element within art. He notes, "On the whole the word 'thing' here designates whatever is not simply nothing. In this sense the work of art is also a thing, so far as it is some sort of being" p. They are its properties A thing is that around which the properties have assembled. The Greeks are supposed to have called it to hypokeimenon.
For them, this core of the thing was something lying at the ground of the thing, something always already there. The characteristics, however, are called ta sumbebekota, that which has always turned up already along with the given core and occurs along with it.
What could be more obvious than that man transposes his propositional way of understanding things into the structure of the thing itself" p. Both sentence and thing-structure derive, in their typical form and their possible mutual relationship, from a common and more original source" p.
What is consistent in a thing The thing is formed by matter" p. Form: "The form The Three Characteristics of Things: "These three modes of defining thingness conceive of the thing as a [ 1 ] bearer of traits, [ 2 ] as the unity of a manifold of sensations, [ 3 ] as formed matter" p. For Heidegger, one of the defining qualities of equipment is its usefulness.
The artist may attempt to demonstrate the usefulness of ordinary equipment in a meaningful way. As we all know, Aristotle rejected Plato's notion of transcendent form, but in so doing he did not reject the idea of the immaterial nature of the immanent form within the particular. Essence is also viewed from both the standpoint of a final and sometimes an efficient cause, though usually he sees it from the perspective of a final cause.
The peasant woman wears her shoes in the field.
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