发帖
雷达卡
Mihai Nadin
The production of art, as much as any other production, takes place in the context of human
interaction-with others, with nature, with tools, with artifacts, and with ideas from times passed.
Artistic work, more than any other, is probably a projection of the experiential structure of the
act of producing artifacts (or events) with qualities socially acknowledged as artistic and values
culturally celebrated as aesthetic. Throughout history, the patterns of human interaction have
continuously changed, and so has art. Nonetheless, changes like the ones we experience today
and unprecedented, requiring that we understand that the condition of art is probably more
dependent than ever on the condition of humanity in general, and of science and technology in
particular.
The age of information processing implies networking and interactivity. In a broad sense, this
age can be understood as one of a generalized electronic medium against whose background
digital and non-digital activities take place. It is not that, in the age of information processing,
tradition or tradition-rooted forms of human practice cease; they are complemented by new
forms, some impractical or even impossible in previous paradigms of thinking and creating.
Two lines –one of continuity that establishes itself as an implicit reference and another of
uncompromising revolution/radical change-could represent the topology of the space of artistic
or scientific exploration as it results from the integration of the information-processing paradigm
and the computer associated with it in our culture. These two lines follow various directions,
which sometimes meet, run in parallel directions, and at some time diverge. I am suggesting this
visual representation to make clear from the outset that the process is not of exclusion, but of
diversification.
This said, it is time to examine what we address as computer art and to try to understand why,
despite expectations (some very high) and tedious work, despite major investment (easily
approaching the billion dollar mark and exceeding any other investment made in art), and
despite enthusiasm, the results have been rather minor. This judgment can be questioned and
contradicted, unless and until the perspective from which it is justified is defined. Indeed, if we
include in our notion of computer art computer graphics in general, modeling, desktop
publishing, simulation, image processing, and animation, as well as sound and image synthesis
(I have not mentioned everything that might qualify ), the argument of economic success,
novelty and cultural impact will be impossible to refute,. Moreover, the invisible participation of
the computer in photography, film, video, music and graphic design technologies will definitely
challenge the notion that the results achieved are minor. This is where the to two lines of
development-tradition and renewal-meet. New technologies are integrated into established
forms of artistic practice and make possible a rationalization of previous work and a wider
dissemination through channels of mass communication, the photographic camera controlled by
a chip achieves what Eastman made the program of his house. Computer-supported graphic
design, especially typesetting, has introduced means of increased productivity, quality control
and variation unknown before. Nevertheless, once these and other examples are acknowledged,
a feeling of dissatisfaction lingers. Computer-generated art and electronic music are interesting,
and some works are provocative in their novelty. But once we have seen a computer graphic
image or listened to a computer-generated piece of music, it seems that we have seen and heard
them all. In animation, after an initial period of surprise and hope, we now know that not much
progress has been made from the first flying logos to the most recent (and ridiculous) flying
flame of the NBC-televised Olympics, although technology has matured quite a bit and we have
CONTXT OF CONFLICT.pdf
(13.16 MB, 需要: 4 个论坛币)
提升卡
置顶卡
沉默卡
变色卡
抢沙发
千斤顶
显身卡
京公网安备 11010802022788号
