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The Dematerialization of Art,
Life, and Real Estate.
by Brad Brace, 1993
"The highest problem of any art is to cause by appearance the
illusion of a higher reality." - Goethe Although Goethe's exact
meaning is open to interpretation the computer appears to be a
tool ready to meet the spirit of his objectives. At least in the
minds of many electronic artists. The computer, particularly
draws the attention of artists today because it epitomizes
current technological development and offers the greatest
potential for exploring new creative places. If we somehow feel
limited by our imagination, the demands of the marketplace, or
current art theory, the computer is one element that somehow
suggests unlimited potential. For those who consider themselves
to be Renaissance men and women the computer is a godsend.
In addition to being a production tool the computer is a window
on and an interface to the rest of the electronically connected
world. The computer as production tool switches modes and
becomes a link to countless other artists and resource people
throughout the world. It only takes a little thought to consider
the possibilities of combining these activities.
Analyzing the computer as a creative tool is similar to
considering fire as a system to cook one's dinner. It can
certainly do that but it has some other dimensions and
possibilities. Understanding the realm of the computer and its
companion data highways is pertinent to its effective use. What
context does art occupy when it uses electronic space? What new
creative possibilities does it present, what are its
limitations... audience...
control... access... money... appropriation... credibility..? Is
there a new underlying language used to create and read
art-cyberart. Can traditional art fit into the cyberworld? Can
Venus de Milo be digitized and stored on to a hard drive and
still be a credible work of art?
The computer as creative tool dematerializes the process of
production. A painter might personally mix gallons of paint,
spend hours making canvases, wait for paint to dry, spill paint
on his clothes or make a small rip in his canvas. None of this
is a factor or even a possibility when the image maker uses Adobe
Illustrator. Is any of this an influencing factor in creating
culturally significant images. Can these qualities be duplicated
and available in another set of pull-down menus?
The materiality of art has always been a significant dimension,
not only of its final form but in influencing the creative
process. Subtleties expressed by Russian sable and bamboo from
the Mediterranean will present a challenge to future programmers.
Can computers replicate the interaction between traditional
tools, natural materials, and chance occurrence? The future of
media such as metal-plate etching and lithography may be
perpetuated because of their distinctiveness or they may simply
become an archaic mode to be mimicked by a graphics program.
However, computers can give us some interesting interpretations
of materials. Swiftly moving granite-bodied humanoids,
leopard-skinned fish, and chromed-metal mountains may constitute
kitsch imagery but they prove that the computer does genuinely
extend the dynamic range of expression.
The lack of materiality in creating art is perhaps secondary to
the non-existence of the completed art work. Although the
finished piece may reside in digital form as a description in
computer code it can only take physical form by another process
of creation, usually mechanical. This re-creation requires an
interpretation of the original and removes the artist from the
final completed piece. Psychologically it places him/her in the
category of being a symbolic language worker and analogous to
being a data entry clerk. This method of production mirrors other
mass produced consumer products and merchandise from the music
and entertainment industry. Questions of authenticity,
provenance, place and uniqueness all affect the value and purpose
of computer generated art work. So.. can computers be used to
create high art?
Conversely, artists can now extend their domain greatly. Most
significantly, they can jump the fences of the traditional
cultural gate keepers. Since most establishment galleries have a
focused audience, limited budgets, and aesthetic agendas the
opportunities for new or alternative works are limited. Informal
electronic galleries can post computer files with minimal cost
and provide many more times the exposure of individual galleries.
Although some electronic galleries will probably develop their
own gate-keeping qualities the diversity and the large number of
computer installations will probably always provide unique
opportunities for new and non-mainstream art to find an audience.
Artists that create work for the realm of computers and networks
will find interesting discussions regarding copyright, access,
file standards, reproduction rights, appropriation, modification,
and methods of electronic payment.
New display systems will continue to be developed for outputting
computer files. Since more and more programs are incorporating
3D functions the interest in VVDs (volume visualization displays)
is growing. Since the promises of holography and Star Trek to
bring live, full motion, 3D images into our living room has not
materialized, computer controlled optical-mechanical systems are
being developed. "Holographic displays show some long-term
potential but they can not be generated in real time. Their
field of view is fundamentally limited, and these displays
typically change their characteristics with the angle from which
they are viewed." As an alternative, Texas Instruments has
produced its Omniview device that allows the display of volumes
in volumetric space.
Until recently, 3D images have only been displayed on two
dimensional CRTs and have required the inclusion of standard
perspective cues such as shadows, texture gradients, and relative
size comparisons. Stereo 3D systems have relied on the use of
special glasses to simulate surface depth but could not allow
movement around a three dimensional object. VVD displays use a
rotating disk that fills the display volume, creating a surface
point at any location in a half-round ball space. Then by using
laser beams directed by X, Y, & Z computer controllers, images
can be projected to any point in the volume. The concept is
similar to the pictures drawn at laser shows but here 3 beams are
used.
A 36 inch diameter version has been built but a 10 foot diameter
model is feasible. A viewer can circle the display sphere and
see a three dimensional object from all directions while it moves
in real time. The display's resolution can be changed to any
desired value by redirecting the scanning system to overlap
points. VVD resolution is expressed in voxels (vo lume pi
xels). Early prototypes had 12,000 voxels, while current models
display 70,000. Three lasers of different colours can provide a
three-colour image or they can be mixed to provide a full colour
palette. Presently, VVD systems require powerful computers to
calculate 3D display data. Originally developed for the U.S.
Department of Defense this technology's future will probably be
more applicable to non military purposes.
Proposed applications include air traffic control visualization.
Air traffic controllers could look into the sphere and see the
exact location, continuous movement and distance relationship
between circling airplanes. Pointing to a plane with a laser
beam would bring up its information on the computer screen.
Other uses include medical diagnosis, weather pattern analysis,
and remote control of space station docking. Visual artists
could use this system to pre visualize sculpture projects, for
choreography and to output 3D animation sequences.
The use of more conventional output devices will increase to
materialize images and objects designed in the abstract world of
the computer. CNC (Computer Numerical Control) equipment
designed for the metal production industry and XY plotters can be
used to cut out images in wood, vinyl, metal, or fabric. Three
dimensional milling machines can materialize objects for
sculpture and 3D animation.
Existing 3D works and artifacts can be digitized, stored, and
recreated in many different locations. Unlimited serial editions
of 3D work could become more popular.
The production of two dimensional works, including print
publishing have created a need for the service bureau that
specializes in outputting files for the artist and publisher.
Future service bureaus will expand their systems to cover video,
3D media, and large-scale 2D imaging. Since specialized
equipment is required to materialize creative ideas, the artist
will more often be forced to conceive and work on his ideas in
the realm of the abstract. In many cases the artist will only
see the final completion of his work after sending the files to
the "Service Bureau".
The total extent of cyberspace integration is still to be
determined. Presently thousands of computers are connected
through various networks such as the Internet, private commercial
systems, open commercial systems, and hacker systems like
FidoNet. Although most are platform independent there are still
fairly narrow constraints on the type of data exchanged. There
are parallel communications systems like land telemetry networks
that monitor geological conditions, traffic movement, electrical
power transmission, radar information and satellites that handle
telecommunications and video signals.
As more and more communications move away from the analog to the
digital world as high definition television is soon expected to
do the more integration of signals will occur. It is interesting
to consider that a computer could order extra oxygen supplies
from Missouri when its sensors determine a high level of air
pollution in Los Angeles. Or that stock market futures price of
grain would change after a computer analyzed infrared images of
world crops.
Artists might consider interactive works that are affected by
natural forces, commercial activity, or combinations of
conditions sensed by cyberlinks.
The networks will become a great source of ideas, feedback, and
will present opportunities for collaboration. Art created for a
world culture will need more than an North American perspective.
A description of a Russian created program El-Fish states that
"Russian programmers couldn't write successful accounting
programs because they don't know about western business
culture... but their culture developed sensibilities that combined
beauty and non-utility". Artistic teams from different parts of
the world can co-operate to create the best cultural products for
a world audience.
As the digital bit becomes the standard building block for all
information we will have greater interchangablity and
interconnectivity. Nicholas Negroponte states that "all
information providers will be in a common business - the bit
radiation business - not radio, TV, magazines or newspapers".
Advantages include being able to quickly construct many specific
versions of a production and the non-material storage of
products. Large numbers of books no longer have to auditioned
because of the advent of print-on-demand printing systems. Many
constructed realities will possibly only exist in digital form.
Unfortunately we may also develop creative techniques in one
digital medium and simply apply them to others, maybe
inappropriately. A music sequencer program allows you to
Quantize while a photo manipulation program allows you to
Equalize. They both use a common root technique of normalizing
but specific digital manipulation concepts might not have
universal application. However, is there expanded creativity in
doing musical things to pictures and visa versa?
The enthusiasm for the digital domain does have some detractors.
Analog constructions do have specific qualities that are
aesthetically pleasing. They might not be able to be justified
technically but certain nuances inherent in analog
interpretations are artistically valid. Chemical imaging systems
still create movies that are more pleasing to the eye. Tube
amplifiers create a unique sound that can't really be duplicated
by digital sound. As in other transitions we will loose some
important characteristics and abilities when we adopt new
technologies.
The cyberworld and computer created information obviously have
their own language. Marshal McLuhan was convinced that the
medium is really the message. Although content is significant
when evaluating a short term experience, the inherent qualities
of a medium are really what constitutes the overall message. TV
really communicates passivity and mass conformity. The message
of cyberspace is still being considered. The technical language
of the cyberspace system is still in a tyrannical realm of linear
text. Totally unforgiving of errors in letters & case it exerts
a blind totalitarian control over the mechanics or structure of
the system. However, the highly defined structure of the system
opens an anarchic realm of interrelationships and interactions of
possibilities.
Perhaps the key distinguishing characteristic of the cyberworld
is interactively. Users of the Internet are able to make more
conscious choices about the information they receive, they can
gather data into their own local electronic spheres, and they can
interact with other users & information providers. We can assume
that one message from cyberspace is activity rather than
passivity. Coach potato mode will not work with a cyberspace
screen.
Art has generally catered to the passive viewer. Although modern
art has incorporated participatory elements and some interactive
schemes most of the ideas are expressed in a one-way
communications mode. Art galleries create interaction or choice
by having patrons physically move from one location or art work
to another. In most cases the cyberart will be presented to the
viewer at his/her location. Instead of a nail on a wall, the
computer will be a much more sophisticated display system. The
digital nature of art will allow the viewer, if he so desires, to
alter the artist s work, to appropriate it or to simply reject it
by destroying the electronic file.
The visual style of cyberart often follows the myriad of choices
the system provides. A complex system creates complex imagery.
Interactive CD s offer menu screens with dozens of preview
images. Text is supported by images. Images are augmented with
text. Sound is added to business communications and moving image
segments like QuickTime files are attached to technical reports.
Ideas are expressed through layering several modes of expression.
Pedagogical theory has always supported multi-modal
communications and now we have the technology to accomplish it.
In addition to painting, photography or sculpture, media such as
MacroMind Director, Hypercard, electronic games, CD-I, 3D0 and
virtual reality systems may be relevant choices for artists. The
future expression of ideas will require a layered, multi-modal
strategy that elaborates and gives the user choices and the
opportunity to participate. Simple two-dimensional images may
have difficulty finding a place in cyberspace.
The plastic arts have referred to traditional sources for their
theory and inspiration. Modernism embraced Marxism while Post
Modernism welcomes Neitzche back. The cyberpunks have created
their own set of philosophers, all of which are found in the
Science Fiction section of the library. Asimov, Pohl, Arthur C.
Clark and Robert Heinlein are some. "If Marvin Minsky had his
way, there would always be a visiting science fiction writer in
residence at the Media Lab." Will the artist who chooses to work
in the Cybersphere have to pay closer attention to science
fiction to better understand its roots? Can Marx and Azimov
co-exist?
How involved should artists become in the technology of the
cyberspace? In the past many artists have been content to have a
technician organize the technical processes of art production.
Although the artist may not have had the technical skill to
complete the task he usually understood the process as it related
to his artistic needs. However, to participate in the cyberspace
community it may demand a greater level of technical commitment.
Alan Kay pointed out that the computer is not a medium but rather
a meta-medium. In other words, with a computer you can create
media.
Artists have previously been in the habit of simply adopting the
materials and tools created by engineers and the industrial
production system. MIT's MediaMoo is a good example of a
cyberspace reality that is being created through technical
knowledge, interest from a wide range of "characters", social
interaction, and some artistry. Future virtual realities will
require equal amounts artistic and technical input. It will be
most effective if artists can express their artistry through a
strong understanding of technology. In fact, artists will be
excluded from many potential interesting environments if they do
not develop the technical skills to communicate in the new
electronic world.
Jaron Lanier says that we can use "post-symbolic" communication
to create shared realities. A virtual reality system will
create a beach when we say: "Let's go for a swim". Instead of
using symbols to describe the beach, we create an electronic
version of a real beach.
Symbolism, which is the key to semiotic interpretations of our
culture may find new roles in visual communication. Whenever we
use a system that constructs new realities, then the established
cultural symbols or icons, which are short cuts to perception,
may become pass or boring. Any reference to past cultural
symbols would immediately signify fantasy. Artists will have to
look past much of our visual and semiotic heritage to construct
credible virtual worlds.
Computers, networks, and the machines that they exchange
information with are multiplying at an incredible rate. They are
constructing a new set of possibilities and destroying others.
The traditional artist who is interested in entering the
cyberworld will have to make many changes. The creative
environment is abstract and dematerialized. Your ideas will be
neatly reconstructed into uniform bits ready to be radiated
throughout the system.
Although you will have many opportunities to distribute your work
around the world it will not receive the hallowed treatment
reserved for gallery exhibitions. It will compete freely with
countless images, interactive programs, video, digitized audio,
games, and people.
You will start to read science fiction. You will try to find the
best service bureau to make hard copies your photos, graphics,
and sculpture projects. You will find creative partners in
Ethiopia.
You will take up computer programming so that you can create new
real estate in a Florida MOO. You will drop sculpting and take
up MacroMind Director. You will forget about cultural symbols
and icons. You will save hard for a VVD display system. You
will not need expensive real estate because you can watch your
virtual reality beach.
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Chapter One - Media and Advertising
What is the role of technology in the media? The media has
traditionally been a way of conveying events ( political,
entertainment, human interest ) to the public at large. The
media is in the information business and relies heavily on
technology to transmit information from one place to another.
Today, we tend to think of technology with a sort of high - tech
this is so modern day attitude. That technology is the wave of
the future is evident but it is important to recognize that
technology is also a part of our past, and understand the
relationships between past technology with that of today.
Technology was the wave of the future thousands of years ago,
technology is like another word for progress, synonymous with
advancement or moving forward in time, technology is the newest
and the latest and is a habitual quest of mankind to increase
his/her capabilities in his/her environment. Domestication of
crops was technology, what about fire - the greatest invention of
all? Technology has always been a driving force in the history of
the human race and with technology a desire for communication is
also deeply rooted in our collective heritage. People have made
illustrations and created writing systems to communicate and
document their histories. Language was also created for smoother
communication and has become increasingly complex. As the world
has increased so has it s level of communication. The media as we
know it largely developed in the wake of modern technology.
Before radio, telegraphs, planes and trains, the world relayed
events to other parts of the world through human travellers and
by letter which would have gone by carriage or boat. With the
radio, events of significance (for whatever reason) could be
broadcast worldwide within a few short hours. With the invention
of planes came aerial warfare and the real possibility that a
country thousands of miles away had the practical means of
invasion and conquest of your own homeland. Enter: the media.
People then and now relied on the media, the radio, the telegraph
and later their television to receive information they now
considered critical to their existence. Out of newspaper
advertising developed radio and later T.V. commercials - the
point at which media and advertising became inexplicably and
forever linked in popular culture. So where does that leave the
media in the modern world? Should the media have to maintain a
moral responsibility to the public? What are the attitudes of the
public to the media? How many people are unaware of the biases
and often self - serving motives that are prevalent in media or
newsgroups today? The resources that the media have been able to
utilize in the twentieth century have changed the face of
advertising indefinitely, and unfortunately deception is
unavoidable. At this point in time many people are still unaware
of the resources available to the media and because of this
widespread ignorance are oblivious to the manipulation of their
minds and psyche by powerful mega-bucks-money-hungry
manufacturers and corporations. An excellent example of this
mindless manipulation in advertising where technology has been
utilized would be photo - manipulation or perhaps plastic
surgery. Combined, the use of these two areas in conjunction with
advertising are one the leading contributors in the continuing
lack of self - esteem of women in North America. The widespread
image of the idealized woman is often created through technology
: elaborate and painstaking make -up, photo manipulation through
lighting, airbrushing, touch ups, varied films and high contrast
filters; these can all be used to create a false image - one
which is unfortunately high sought after and is in most cases
unattainable. The cause of this disastrous situation cannot be
blamed on the high - tech features that are available in present
day, aerial warfare cannot be blamed on the invention of planes.
People so often place the blame of an unfortunate situation on
technology because it is crucial to the existence of the
situation - the situation is dependant on the invention; it is
human nature that develops and determines the course an
advancement in technology will take.
Chapter Two - Interconnectedness
As technology increases, communication also increases and with
these increases follows a sense of interconnection. Connectedness
should be the opposite of isolation, but they are, in some ways
very closely related. I will show this relationship as it exists
in a narrative; a day in the life of a fictitious character - Mr.
TypaLot.
A Day in the Life of Mr. Typalot
by b. bigelow
Mr. Typalot lives in the suburbs of Vancouver, in Delta, B.C.
He lives in nice home in a prestigious area with his wife and 2.2
children. He works in the city, and has to commute each today. He
leaves his house at 7:40 every morning to make the commute to
Vancouver. He takes his briefcase (laptop computer inside), his
cellular phone, and a mug of fresh, automatic-machine-made
coffee. His commute though lengthy, goes quickly because he
spends much of his time talking on the phone (usually to other
colleagues also on their way to work).Mr. Typalot is perhaps a
researcher, an advertising executive, or maybe a systems analyst.
He types a lot, mostly into his Unix at work, his laptop, or at
his Macintosh in his den at home. When he isn t typing, he is
talking, sometimes on a telephone, sometimes not. Mr. Typalot
communicates with people all over the world everyday via. e -
mail, fax, phone and answering machines, and through virtual
reality set-ups such as MediaMOO. He develops all kinds of
relationships with people in the course of his day, but he is
also everyday increasing his relationship with inaminate devices.
It can not be avoided, in his relationship building with other
people it is necessary for him to interact with machines - it is
a necessity of his success in the workplace. Mr. Typalot is
isolated in a indirect way everyday. Each day for several hours
he is deprived of any sensory stimulation that is not available
to him through his terminal or workstation. Mr, Typalot is
experiencing sensory isolation.
The narrative of Mr. Typalot is a generic example of what many
people in the workplace experience. Mr. Typalot is perhaps more
extreme than the norm but as communications in technology
advance, more and more people will have workdays that fit this
description. This type of connectedness or advanced communication
has ups as well as downs - the downside involves a lack of
direct, or face-to-face contact, and a loss of the more human
side or traditional interaction between people. On the up side,
is the opportunity to engage in a virtual reality experience; to
participate in a highly imaginative and creative realm which I
could only previously describe as becoming deeply involved with a
very intensely written novel. These text based virtual realities,
such as MediaMoo are highly creative and intellectually
stimulating - as well as fun. They can be a good alternative to
traditional reading because the player can actually participate
and contribute to the story . Virtual Realities might ce
beneficial in educating children and adults - making learning
enjoyable and interesting. They might also contribute to a higher
self esteem in children/teenagers as they maintain some type of
control, responsibility, and exercise their ability to produce.
On the other hand, V.R.s could be less than beneficial to some
individuals as they might become more drawn into the V.R. than
might be perceived as healthy. I sometimes envision a situation
similar to the Dungeon and Dragon scenario where in several cases
the individuals involved with the game had a difficult time
distinguishing between real life and fantasy . The bottom line
is that each individual is different and will react to virtual
realities in their own way; that a few select cases cannot
determine the outcome of thousands of others.
Chapter Two - Interconnectiveness
Part Two - The Role of Technology in the Lives of Special Needs
People.
Technology can go along way in contributing to the quality of
lifestyle in the lives of those with special needs. For the
deaf, the computer can be a fabulous way of communicating and
reaching out to others. Autistic people who at times may have
difficulty interacting with other people often are very skilled,
and enjoy working at a computer workstation. People confined to
a wheelchair have many more career opportunities than ever
before thanks to the computer and a continuing growth of more
sophisticated software. In the instance of a brother of a friend
mine ( we ll call him Jim), the computer has literally been his
salvation. After a severe car accident, Jim lost the movement of
both legs - he will be confined to a wheelchair for the rest of
his life. Jim comes from a family of artists and before his
accident he was a working artist painting in a traditional
sense. Now Jim works with computer graphics - doing freelance and
contract work. New software has made it easier, and more
convenient for people like Jim to continue working. There are
many fields to work in , ie. research, data entry, etc. In the
case of special needs children - those with learning disabilities
or the developmentally delayed; a constant stimulus is one of the
most important factors in the mental (and physical) development.
Traditionally, this constant stimulus has been provided by
support workers, but lack of funding (gov t and private) often
leads to special needs children not receiving the one on one
stimulus they need and deserve. While the computer might not be
considered an adequate substitute for human stimulus, it would
still be better than nothing and would probably make a positive
contribution to the development of the child. Children are drawn
to computers - to the bright colors, movement and sound emote
from them. Unlike television, computers can be more interactive
and will encourage and prompt a child to participate. I don t
know where computer stimulus will lead, but certainly it is
better for the intellectual growth - and even motor skills than
most of the programs children watch on T.V. The same can be
applied to special needs adults, for while these individuals are
in the body of an adult, often their intellectual development
hasn t caught up - has been delayed in some way and stimulus and
prompts are still essential to their intellectual growth.
Chapter Three - Technology and Tradition
Part One: Technology and Tradition
The increases in technology have made communicating in the
twentieth century easier and more convenient than ever before.
Electronic mail, faxes, cellular phones and virtual realities
drastically reduce the amount of time it takes to get a
message/or important documents to an individual. Electronic mail
takes away the envelope, the stamp and the whole structure of the
traditional mail system. There is no pick, transporting the
letter to a sortation plant and sorting of the letter before the
eventual delivery ( of which won,t be in the recipient s hands
until he/she gets home from work,etc. E -mail is practical, but
will eventually eliminate a characteristic of the weekday as many
people experience it. Coming home to an unexpected card or letter
is a pleasant surprise which would be virtually eliminated in an
electronic mail system. Letters or cards would probably be
received at work in the course of the day, and would be on a
screen - not paper. Paper cards,invitations etc. might still be
sent out (perhaps by private,entrepreunial companies) as a sort
of novelty or maybe on a special occasion. What about wedding
invitations and gold embossed papers? How could one put a wedding
invitation into a photo album if the invitation was on the
screen? ( I guess you could always print out a copy). These small
characteristics of everyday life will probably in the future be
altered to fit into a world where modern technology has spread
into every aspect of our existence. Are there areas that the
notions of convenience and practicality should not enter into?
Areas of our lives that are considered sacred and should be
protected and preserved from the invasion of the driving force
called technology?
Chapter Three - Technology and Tradition
Part Two: Technology in the Home.
Technology has always affected the home. The Refrigator,
electronic oven, and electrical lighting are a far cry from a gas
lamp illuminated kitchen and a wood burning stove.
The washer and dryer, disposable diapers and running water have
freed up plenty of time for more enjoyable pursuits like going
for walks or visiting friends but in many instances just
listening to the radio or watching television. We are surrounded
by technology always - modern techno conveniences such as the
telephone (portable,cellular, or other) the microwave, toasters,
coffee makers, VCRS and camcorders. The computer will have more
impact in the home than any other techno convenience since the
television.( or Nintendo). The computer will contribute both to
the organization and the entertainment/leisure activities in the
home -catapulting into a nucleic role which the household could
quite possibly revolve around in the future. Through the computer
a family, individual, etc. could have access to more information
than they could ever hope to tread upon - never mind absorption.
Miscellaneous tasks and activities such as going out to get a
newspaper, borrow a book from the library,get a video or play
arcade games could be fulfilled by simply sitting in front of
keyboard and screen. It is hard to predict what the outcome of
discontinuing traditional activity might be - or if it will
happen at all. The potential is real and the outcome might be
disastrous. Even a general recognmition by society to admit and
understand this;that the computer in the home and workplace is
potentially harmful to our continued existence, might go a long
way in preserving whatever integrity we have left.
Chapter Four - Art and Architecture: The Role of Technology
There is a big difference between computer generated art and
art that exists solely in the computer. Computer generated art
can still be accessed in the traditional way, it can hang on your
walls at home - it can be displayed in a gallery or reproduced
in a book.In this way the art is not dependant on the computer
for it's existence - it can retain an identity seperate from the
computer. In these instances the computer is like a tool the
artist has used to create his/her work, just like a camera, or a
tablesaw. With art that exists solely within the computer, the
images can only be viewed via the computer and nowhere else. It
is a permanent attachment to the piece and it is therefore an
integral element of the work itself. This type of art is
different from traditional art or even independant computer
generated art because it's focus or motives are related to
communications in a different way - an area of communications
which is void of the physical and tangible. This difficult concept
of relaying ideas and information can be thought of as a large
base of information, compiled of the thoughts and interests of
thousands of people.
What is the role of the artist within this base of information,
and how will the role of the artist change as a result of
technology? Who is the artist? The artist is foremost a designer;
a person who conceives ideas and then attempts to communicate
those ideas (sometimes to themselves and sometimes to others)by
representing the ideas in a physical expression. What the
expression will be depends on the the designer. If the designer
is a musician the expression might be a musical score, if the
designer is an architect than probably a building plan. There
are several advantages to working within a large information base
that over a 100 000 000 million people have access to (ie. the
Internet).The exposure is tremendous and the opportunity to make
contacts and to to relay ideas is anyone's speculation. The
electronic art gallery is to the artist today what television
would have been to the actor who was previously only viewed in
live theater. In presenting to the masses through an electronic
network an expression of an idea the artist is able to convey and
communicate thoughts on a widespread level - but to what level of
efficiency? Is something lost in the philosophy if the artist is
able to communicate the the idea to a broad audience but only in
general terms? Is it better to communicate a fuller understanding
of a concept to a limited people instead of a general idea to
thousands? This question can only be answered by the individual -
each artist having their personal agenda which dictates their
actions and motivates their work.
It is up to us, the designers and artists to determine and
shape our changing role along with the advancement of technology.
What else can we do? We are forced to go with the flow and
utilize technology to prevent our obsolescence. Technology and
job displacement go hand in hand and the artist and designer are
not an exception. With more and more sophisticated software many
kinds of work in the design industry could easily be sifted out
in the future. Graphic artists, architects, industrial designers
could in all like likelihood be eliminated in future society.
Think of past tradesmen (tradesperson) who no longer have a place
in the world due to technological advancement and new invention?
How many shoemakers have you met recently? The shoemaker was a
tradesman - a designer of a kind and is a scarcity in modern day.
Of course the machine made/pre-fab shoes can never match the
quality of a leather shoe cut and measured specifically to the
individual's foot. One of a kind shoes- each with their own
identity; a product and design from start to finish of the
individual designer and his/her original vision. The fact is if
it is good enough, if it will get the job done (at least
satisfactorally) then it will be accepted by the masses;leaving
little room for the creativity and ingenuity of the individual
designer. A balance needs to be struck between designer and
computer - a blance where the computer is a tool for the designer
and not the designer itself. Architects and draftspeople now have
the unique advantage of being able to conjure up their changing
visions quicker than they could possible recreate an intricate
drawing by hand.These quickly redrawn views however, only remain
an advantage to the architect etc. if the designer is still the
motivating factor behind the design and is the major contributor
to the end result.
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source: http://www.totse.com/en/law/justice_for_all/dig_art.html
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