In The Name of “Like This”: The Appropriation of Artwork In Digital Age (original) (raw)
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During the technological revolution, many aspects of human perceptions changed. Now with the method of digitalization, paintings that were once oil on canvas or huge works of art posted in galleries have become merely a replica of themselves, with binary code in the background. The materiality of art has been transferred into a new digital world with code, more familiar to be read by an AI than by humans. Transmediality, at the same time, opens a new concept of perception and changes the way a piece of art should be examined. The main goal of this paper is to determine the key points of transmediality and how they impact artistic and media practices. Through the theories of transmediality, multimodality, and transtextuality, this paper aims to answer how to analyze traditional artistic forms, such as paintings, sculptures, music, literature, analog photographs, films, and architecture that are now digitized into virtual website tours with a digital code mediator. This paper aims to ...
Lumina Journal, 2017
Where is art in the digital era? This essay identifies the digital as an abstract, formal system. Since art has always relied on formal, abstract systems to carry and deliver itself, what are the implications for art in the digital era? Is the digital a site for art, or is it the other way around? Can there be digital art? Identifying limit and boundary problems as the crucial existential problems for the digital, the essay shows that art has always concerned itself with such problems. This prompts the question as to whether it is possible that human existence and art become the same thing in the digital. Because the digital is currently primarily manipulated in the service of globalist economics, this is clearly not (yet) the case, so what does this mean for art? The essay then briefly examines the self-declared movements of dada, post-digital and post-internet art, concluding that these movements are not capable of questioning the digital as digital, before going on to examine some artists whose practice may be providing guiding lights toward a genuinely digital art.
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The research presented in this paper begins from the time of turmoil in the field of arts and thinking (about art) in the late 19th and early 20th century. The shift from traditional techniques and operational procedures to modern ones, which is followed back from the time of industrial revolution, contributed to the elimination of art as the relevant operational procedure and consequently to the elimination of the values on which the traditional art survived. Although modern art drew its inspiration from the well of resistance to tradition and social reality in which the masses played an important role, the paper attempts to follow the task the art has inherited from earlier times - the artistic display of sense at the level of image, which differentiates it in the recent cultural, economic and intellectual conditions from the mass industrial production of consumable images. The paper examines the possibility of differentiation of artistic image in postmodern period, at the time of excessive expansion of mass media and electronic simulation techniques, following the realisation that the modernist ideal of progress and the exclusivity of art are unviable. The paper presents the arguments of the philosophers who deny the possibility of art in postmodern era. Contrary to that, it indicates that there is a vast area of artistic production which testifies with its exquisite experiential and cognitive value in the field of image to the need for artistic mimesis and its articulation of reality at the time of simulation.
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A Linking Park, 2013
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Thinking Art in the Technological World: An Approach to Digital Media Art Creation
Trends, Experiences, and Perspectives in Immersive Multimedia and Augmented Reality, 2019
In this chapter, the authors discuss the use of digital media in the creation of digital art, questioning the evolution of the relationship between technology and concept in communication through art. The intersection of new media and digital art have been opening interesting and seductive new horizons and in parallel, the concept, the understanding, the legitimacy of artistic creation, the role of the artist and the role of the spectator are also redefined. Based on two experimental works of the artist Henrique Silva, the authors analyze and reflect on the relationship of technology, art and virtuality, focusing on concepts like experience, sensory, immersion, communication and interaction in artworks created through digital media.
Proceedings book of the International Congress of Aesthetics (ISBN 978-86-7924-224-2), 2019
This article is a result of my participation at the International Congress of Aesthetics (2019). The conference presentation and full text were published in the proceedings book (ISBN 978-86-7924-224-2). After a selection was made, the editorial board of Art and Media, AM Journal of Art and Media Studies (ISSN 2217-9666 – printed, ISSN 2406-1654 – online) also decided to publish this article. Abstract: This article analyzes selected classic artworks, which exert influence over contemporary images. The basis of this research proposal is the analysis of the transformation of long-established and internationally recognized artworks through digital technology and social media. The investigation will also highlight the symbolic meaning of absolute values of the human being, such as the primary emotions regarding different forms of representation and reproduction of images broadcast by media, concerning the political impact of global visual culture. The first concern is that visual culture consists of an “image” of reality in constant reconfiguration. Thus, visual arts have been presented consensually based on democratic ideals and freedom of expression. Nonetheless, forms of transgression have been transformed. Among the most significant factors are the lack of criteria and the dissolution of values to explain why visual culture, in its purpose, is often not understood or assimilated. In some cases, real tragedies are confused with artistic performances. In fact, the general tendency is for fiction to imitate reality even more closely. Therefore, the second concern is the context of visual arts in current media, i.e., the meaning of the images, when manipulated and instrumentalized according to political-ideological interests, concerning society (especially regarding the power of capital and consumption), and their global and cultural impact through social networks. The objective of this study is to discern facts from fiction to better understand and interpret emerging society towards democracy. The relationship between ethics and aesthetic values is not only in art’s formal elements but also as content in human achievements. The images are analyzed through art history, iconology, and iconography, to investigate, select, and evaluate the visual object as a form of communication in the current social impact of political images. Finally, the objective is to show the real-digital interface as a means of interpretation and aesthetic experience as part of this perception process, also considering the artifice of the images in configuration. Hence, absolute reference values of human existence in visual arts are questioned, eliminating any illusion, given the sense of novelty, in the face of mercantile injunctions and technical progress concerning the impact it exerts on social networks. Cites as: Wagner, Christiane. 2019. “Artworks and the Paradoxes of the Media-Transmitted Reality.” In Proceedings book of International Congress of Aesthetics, Art and Media, AM Journal of Art and Media Studies, (October): 71– 85. DOI: http://doi.org/10.25038/am.v0i20.324
It's Just the Internet! Appropriation in Postinternet Art
Artech 2017
This paper examines the use of appropriation in contemporary internet art-postinternet art-in terms of internet technology and web content. The paper suggests that postinternet art reflects our cultural reality through the ubiquity and fluidity of internet services. This results to novel artistic practices that draw on the cultural connections made online by appropriating found web content and internet technology. The paper presents a study of 190 artworks from the ArtBase Rhizome's digital archive between 2010-2015 to provide evidence on how and to what extent postinternet art appropriates the internet.
This dissertation will explore the notion of appropriation in modern and contemporary fine arts. Appropriation as an artistic concept will be divided into two branches which derive from, or to a certain extent are based on, the idea of artistic ‘borrowing’: imitation and influence. Examples of appropriation art will be given in this dissertation and will prove that either imitation or influence are predominant contextual or aesthetic components of appropriation in art. Moreover, it will be argued that the meaning and recognition of appropriation as an art practice have changed throughout the history and criticism of art. This paper will consider examples of different approaches to appropriation which represented changes in the perception of authorship and autonomy of an artwork. The dissertation will furthermore consider the aspect of copyright, a subject indivisible from the discussion on appropriation and legal rights. Overall, it will be proved that appropriation as an art practice concerns various aspects of art and therefore it cannot be classified as just one category or artistic tendency, but rather as a component which constitutes, supports and interpenetrates other art techniques or movements
Media Art. Towards a New Definition of Arts in the Age of Technology
2015
As stated Oliver Grau, «Media art is the art form that uses the technologies that fundamentally change our societies». In the Italian publishing system this book represent the first attempt that try to systematize the phenomenon of Media Art. The book is separated in three parts: Theories, Histories, Perspectives. The last part is dedicated to the exhibition "From Body to Mind. New Generations of Italian Media Artists" hosted in the Roma Media Art Festival which this book is strictly tied.