Archive for January, 2018

01
Jan
18

// hacking the very substance of art [part III]: e-NTERING THE PLANE/

 
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######     ##F### FINAL VERSION III
######     ###### (c) ALIAS.MXM |
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GO OUT AND GET!

For R700 you can go out and buy a video output card, connect it up to a digital video camera and after visiting http://www.limewire.com, download some of the latest ‘cracked’ software.

Make a video at broadcast quantity, or alternatively, you can create images or sounds of high quality for studio publications and get them printed or recorded for under R800 at most print or recording studios.

The digital age is NOW and AFFORDABLE!

WHAT IS THE CONTENT?

The digital artist is working in the platform of the programme conceptualisers’ ideals. The limitations on the artist are those placed on the artist by the programme development team. We even find that the software being used is system dependent. The digital artist’s vision of the world is limited to the current digital developments, and hence, that vision may become time specific and tied to a current vision of the world. As Louis Rossetto points out: “Most of what (developers) describe as content is really raw data”.

The problem is that the resultant work is still about this era’s technological developments. The meaning becomes as dated as pop music’s immediacy and as specific as pop music’s mass appeal. You can immediately identify music out of the 1970’s and 1980’s. Photography has had to go through a similar process in order to offer us a vision that speaks louder than the limitations of a 1000th/second and the placidity of chemical colours on gloss paper.

The other issue is that digital artworks border on graphic art. This is Warhol’s kickback – the fine line between the graphic designer and the digital artist is and has become negligible. More experienced and suited to digital art is the Fine Artist that has been trained in Graphic Art. This type-training programme prepares the digital artist for a more thorough technical- cum-digital training that is needed in digital art than is currently available in the Fine Art courses.

Although many Fine Art tertiary departments have begun to try their luck by providing the hardware, they still lack the expertise to train digital artists, and usually rely on an unstructured student-teach-student approach – or what is called the masticator approach.

In terms of training it appears as if a course at a film school with animation would be more meaningful technically to the budding digital artist. Experimental Animators’ Sites state that animated fine art is rarely seen in galleries, theatres, or on television, and the greatest artists in this medium, such as Oskar Fischinger, lived in poverty and obscurity. “A tragic irony is that this most disenfranchised of all art forms has been until now the only truly Twentieth-Century art medium. Another irony is that it takes more time and work to produce each second of viewer experience than any other art form.” — SXA

THE WAY ROUND!

“For most of this century we have viewed communications as a conduit, a pipe between mystical locations on the planet. What’s happened now is that communication has become more than a conduit, it has become a destination in its own right – what in the vernacular is called cyberspace” Paul Saffo.

The digital artists solution to placement/displacement of content is possibly to use a multitasking and multi-platform approach to the digital art-making process. Jaron Lanier has suggested that “the main thing that computer-based media do that’s entirely new to the world is to make abstractions real”. Lets face it, currently the content of digital art is:

About the limitations of contemporary technology.

The artists training and understanding of the medium.

The meaning of the programmer’s corporate mandate.

The limitations of a progressive and electronic world view.

BUT?

Digital imperialism is more than we can expect of any other medium at this point in history. Sherry Tarkle even sees current technology as providing new ways of looking at “mind and life and intelligence”. Digital art and its hype unfortunately is about the pixelisation “(Any new communications technology brings with it the fear and loathing of the ruling classes”, says Mike Godwin. Essentially he sees the goal as power and control) of meaning and its translation through a Western dogma (a creed that started with Newton and has culminated in quantum physics). Paul Saffo sums up the current views: “We are performing a great unwitting experiment on ourselves by introducing all this digital technology into our lives. Where it ends up is anyone’s guess. But wherever we end up, we are in for a fascinating and utterly surprising ride”.

“Life is short. Create your heart’s desire. It will outlive you.” – Joanna Priestley on Experimental Animators’ Sites and Saartjie-in-the-making with everything else that connects with live.

.-. Disclaimer:
I###H /////// \|-|I###H |_____|_#_|

No ART/ARTISTS or PAL/POLITICIANS
<<<were harmed during>>>
I###H ==I===|_[X]_|___|_| the ma+ting of this info.
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X### MXM .
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X###XMXM | Sponsored by |
X### SAARTJIE
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THE PERCEPTIONALISTS and their sUpport teams |
X###% | [SAARTJIE] |
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