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 . View Digital Arts Research Papers on osakeya.info for free. Composite Photographs - 12 Artists and Their Work, 1st Edition (Hardback) - osakeya.info 𝗣𝗗𝗙 | The process behind the act of the art creation or the creation process from book Handbook of Multimedia for Digital Entertainment and Arts (pp ).
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FINE ARTS/DIGITAL ART. Mission Statement. The mission of the Department of Art complements that of the University by striving "to empower each individual. The digital arts—from graphic design to photography to animation—enhance our ability to communicate around the world, both professionally and socially. Preparing Digital Art for Cadmus Professional Communications in Adobe InDesign Windows into the document. We do not support importation of PDF.
My research aims to imagine a lost future which reengages materiality. I discuss the technological principles of weaving to develop a mechanical cellular autonomer whose conditional movements are materially encoded during construction. By discussing passive compliance in soft robotics, I demonstrate how smart materials can be employed to address environmental unpredictability more effectively than computerized control systems. The computational properties of bar linkages are examined: their original use for computing continuous functions is compared to their subsequent application as early binary converters.
My works seeks to voluntarily relinquish this computerized regulation in favor of an analog aesthetic. The Hyperreal and the Real I. Rather than a space to be controlled and monitored, the Internet was imagined with a freedom empty of borders and capital, a type of escapism from the preexisting hierarchies in the real world.
It was not a loss of faith but instead a reconceptualization of idealisms, a way to start over from scratch in an ungoverned wilderness. In his manifesto The Declaration of Independence of Cyberspace , John Perry Barlow writes: Governments of the industrial world, cyberspace does not lie within your borders.
We are creating a world where anyone, anywhere, may express his or her beliefs, no matter how singular, without fear of being coerced into silence or conformity.
I declare the global social space we are building to be naturally independent of the tyrannies you seek to impose on us. We will create a civilisation of the mind in cyberspace. May it be more humane and fair than the world your governments have made before Barlow, This statement was copied in over 40, sites upon its publication.
While there still exists the promise of an uncontrolled virtual space as a location where impossible dreams can be materialized as evidenced by developments in VR, AR, MR, and AI as aesthetic disciplines , global networks have also lead to the proliferation of cybernetic technologies which have dangerous consequences for the future of civilian regulation.
What Barlow describes is a lost future, one which never fully materialized. What did materialize is a future based in the micromanagement of risks and assets, numerical calculations meant to maximize growth and minimize loss for the population as a whole Curtis, The anonymous French leftist collective Tiqqun writes at length about the development of a cybernetic state, one that idealizes management and control. Technological progress becomes unilaterally equivalated with corporate prosperity: wearable gadgets, security software, the internet of things, interactive advertising, smart cars, smart devices, and handheld screens dominate modern conceptions of innovative technology.
These technologies do not address the multiplicity of the user as they inherently atomize individuals into singularities of capital; even personal customization becomes a marketing technique. Cybernetics—automated control systems meant to mechanize the flow of bodies—are now invisibly used for predictive policing, targeted advertising, health and fitness apps, monetary management, and other mundane elements of daily life. Technological Solutionism: In China, a country with one of the highest pollution and overpopulation rates in the world, companies sought to address issues of overcrowding in cities with the creation of bike sharing apps.
Their software allows users to rent a bike cheaply by the hour, perceived to be a simple way to reduce carbon emissions through communal property. In , dozens of bike-share companies quickly flooded the streets with millions of rental bicycles in order to seize the market.
Chinese infrastructure was not meant to handle the sudden insurgency, resulting in mountains of abandoned bikes which were soon impounded and left in vacant lots, or chaotic piles Taylor, Their debris have become a haunting sight, a reminder of the market bubble bursting on false dreams of corporatized sustainability. Figure 1. A pile of discarded ride share bikes in Xiamen, Fujian province, China Figure 2.
An aerial view of unused rideshare bikes collected from Shanghai streets by local authorities, arranged neatly into row Translations between imagined Internet movements and its real-life implementation outside of the cybernetic utopia are not seamless. Software solutions are often incongruent with the material world, as they oversimplify already existing political problems, further complicating them until they spiral into madness.
In his documentary HyperNormalisation ,Adam Curtis argues that, since the s, governments have created a simplified and completely simulated version of reality, run by corporations and kept stable by politicians under the guise of maintaining a functioning society Curtis, Social media sites such as Twitter and Facebook are effective for joining masses of people under a common emblem, but fail to mobilize populations into real agents of resistance.
This can be seen in movements that began as a hashtag on the netscape but never metamorphosed into physical scenes with lucid goals: the Arab Spring and Occupy Wall Street are potent examples of this Curtis, The discord between initial hysteria and long-term endurance are markers of the anxious and schizophrenic present, a pathological temporality which fail to be foundational for real change.
The desire to program virtual simulacra could indicate a cultural panic over the loss of material conditions, namely that the real world has become so impermeable that users must create alternate realities in order to retroactively imagine a future that includes them.
A symptom of this intense alienation, atomization, and privatization is what Jean Baudrillard refers to as hyperreality —a postmodern semiotics in which it is impossible for human consciousness to distinguish reality from a simulation of reality Baudrillard, It is the condition in which what is real and fiction are seamlessly blended, augmented by a digitization in which we seek stimuli from a copy world and nothing further. Figure 4. Smart Cities and the Myth of Interactivity The smart city is an urban space engineered to manage resources with maximized efficiency.
This is implemented through electronic data collection systems which allow built structures to respond intelligently to human stimuli.
What constitutes intelligent interactivity will become mediated by these technologies which fully regulate the population via the passive collection of data on its habitual trends.
In his book The City is NotATree,C hristopherAlexanderwritesabouthowconceptionsofarchitectural interactivity have been confined to information transmitted between the eyeball and the hard drive. When the light is red, people who are waiting to cross the street stand idly by the light; and since they have nothing to do, they look at the papers displayed on the newsrack which they can see from where they stand.
Indeed, we cannot ever explain why the universe — out of all the forms it might have taken — should allow such generations of sensible structure from mere electronically processed information. The gap between information and digital visual realization is, accordingly filled with mystery, and it is this which gives the digital imprimatur its unique aesthetic fascination.
There is a felt harmony between the power of creative thought and the world of the senses through the quasi-magical leap from one to the other — as focussed in the particularity of the work. It might be asked why similar effects do not arise from photography.
The answer is that photography also is technologically-based, but in a way that merely preserves a trace of sensory presence.
It is causally rigid — dependent on the direct impact of light from its object. Photography has its own unique aesthetic characteristics, but they are different from those of digital works. The computer-generated image is electronically produced. Indeed, since, in digital art one is transported via a real sensory simulacrum rather than by imagination alone, the effect is all the more aesthetically complete.
Of course, generally speaking, the gap between what any artwork is, as a human creation, and the imaginative world it opens up, is always aesthetically significant — in distinctive and positive ways on the basis of the medium involved. In the case of digital art, the gap between identity and effect is so extreme as to have the quasi-magical aesthetic effect just described. The image was created in , but the sculpture itself was generated between and through a program on a Siemens computer directing a Sinumerik milling machine.
The work consists of a field of squares grouped in three columns of six in the upper left quadrant, complex diagonals that join contiguous squares umbilically, and descend into horizontal layers with some slight disordering. This is one aspect of a broader disordering factor spread across much of the field. It arises from variations in the distribution and sizes of the squares, and their having shadowed edging on two sides —which gives them a strong three-dimensional appearance.
The digital origins of this work are visually manifest in the precise optical push- pull effects that arise from the features just described. In concert, they do not give the impression of being drawn, or sculpted, or even of being machine-made. Rather they suggest the precision arising from digital composition.
The visual upshot of all this is a configuration that, in visual terms, shifts to and fro - from the appearance of a mere static pattern to that of an insistently physical field of units, where the units are striving to change their positions. Although the squares occupy places that we know to have been allocated to them rigidly by a program, at the same time many of them seem visually animated and resistant to such placing.
Electronically processed information here issues in forms that seem palpable and living. Through this, broader associations with physical changes in nature are suggested - specifically, the decomposition and recomposition of granular bodies at a microscopic level. And all this from mere equations and formulae… Let us also consider a second example — this time from a mode that combines temporal realization and digital mediation of an environment.
One of the most important exponents of the latter in the Postmodern era is Erwin Redl. His environmental remodeling is based on visual effects produced by installations of LED lights. These are traversed by a second circular grid that appears to move slowly through each of the monitors from left to right, and a duplicate one that performs a similar movement from right to left.
In the course of these motions the contrast between the lighter and darker lines in the grid is gradually diminished, until the monitors become a uniform gray. When this monochrome saturation is reached, all visual motion ceases. It recommences only when the contrast levels are once more increased.
This cycle of motion and diminution is correlated with sound effects. Short acoustic signals accompany the movement of the grids only to diminish into uniform gray noise with the arrival of the total monochrome. The sound process recommences in correlation with the relaunch of the grid motion.
The key to the work is that the monitors generate visual transformations without having to create any depth illusion. Corner Study II involves, rather, a visual process with overtones of metaphysical narrative. Extensive magnitude is our sensation of how much space a thing occupies in itself or moves through. These sensations are basic to our cognition of the world. They are implicit in almost everything we experience — from things moving close to us, or away from us; to different degrees of emotional feeling and feelings of pleasure or pain.
In effect, they are one of those factors in cognition that act as an horizon — a cognitive capacity that allows diverse stimuli to be processed in terms of a consistent pattern of intelligibility. In this respect, we often explicitly remark on big something is, or on the spatial path it has followed.
Even more, we report on how intense or weak the effect of such a stimulus has been upon us. But what we hardly ever remark upon is the horizon of extensive and intensive magnitude that is embodied in such judgments. Corner Study II in effect, presents these as an horizon by using an iconic idiom of digitality, namely the monitor. This becomes a vehicle that models the horizon of magnitude. In effect, it is a phenomenological reduction to essence performed by technological means.
The metaphysical importance of this is that the pattern of intelligibility associated with the horizon of magnitude concerns fundamentals of Being in any sense — how things become strong — through occupying space; and how they weaken through dissipation of the form that has allowed them to occupy space in just way.
From a finite embodied perspective, this is — as a phenomenon - cyclical. We may be able to intervene on specific instances of it, but as a metaphysical phenomenon, it happens in general terms whether we will it or not. At the same time, of course, the distinctive things about humans is that they are self-conscious rational beings who can comprehend such processes and make them into something understood, rather than something one is just the victim of, or deals with as best one can.
Corner Study II engages with all the aforementioned factors. 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. This volume captures the status of digital humanities within the Arts in South Africa. The primary research methodology falls within the broader tradition of phenomenological hermeneutics, with a specific emphasis on visual hermeneutics The primary research methodology falls within the broader tradition of phenomenological hermeneutics, with a specific emphasis on visual hermeneutics.
Some of the tools utilised as part of the visual hermeneutic methods are geographic information system GIS mapping, sensory ethnography and narrative pathways. Digital humanities is positioned here as the necessary engagement of the humanities with the pervasive digital culture of the 21st century.
It is posited that the humanities and arts, in particular, have an essential role to play in unlocking meaning from scientific, technological and data-driven research. The critical engagement with digital humanities is foregrounded throughout the volume, as this crucial engagement works through images. Images as understood within image studies are not merely another text but always more than a text. As such, this book is the first of its kind in the South African scholarly landscape, and notably also a first on the African continent.
Its targeted audience include both scholars within the humanities, particularly in the arts and social sciences. Researchers pursuing the new field of digital humanities may also find the ideas presented in this book significant. Several of the chapters analyse the question of dealing with digital humanities through representations of the self as viewed from the Global South.
However, it should be noted that self-representation is not the only area covered in this volume. The latter chapters of the book discuss innovative ways of implementing digital humanities strategies and methodologies for teaching and researching in South Africa. Charles Travis. Karli Brittz. Juan-Pierre van der Walt. Digital art, as a professional field, is a relatively new place and in constant redefinition, it seems appropriate to seek to establish a basis to analyze the digital as a way of thinking.
Under this perspective and considering, mainly, Under this perspective and considering, mainly, the work of Gilbert Simondon about the genesis of the technical object, as well as, the proposal of Yuk Hui about the digital object, this paper proposes the idea of a digital artistic object, and a computer algorithm as a first approach to exemplify the proposal.
Parametric Skinning of Complex Graphs: The research project presented in this paper aims to extend the repertoire of architectural design and construction.
To achieve this purpose, research-through-design methods are used to match a commonly desired target geometry with a To achieve this purpose, research-through-design methods are used to match a commonly desired target geometry with a realistic and efficient materialisation strategy.
The proposed approach has been tested through construction of practical prototypes that eventuated in a full-scale structure that performed well in a variety of outdoor conditions. The outcome of this work is a workflow for semi-automated skinning of complex graphs such as trusses or space frames. The project tests this workflow through an application to a topologically complex L-system. The L-system graph is parametrically skinned with a continuous, adjustable envelope.
The outcomes of this skinning are materialised in fabric to produce a twelve-metrelong, wind-supported, airborne inflatable structure. This workflow is a novel extension of existing approaches to skinning and fabrication of structures based on complex graphs because it allows a hitherto unavailable, fabrication-ready geometric definition of joints between cylindrical and conical tubes of varying diameters.
It is significant as a reusable approach to the geometric construction of such joints in a variety of materials and across multiple scales. Furthermore, it is interesting as an innovative prototype of possible wind-supported architectural structures. Ads help cover our server costs.
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