Digital Art in Ireland New Media and Irish Artistic Practice

Author(s):  
Lauren McNamara
Leonardo ◽  
2002 ◽  
Vol 35 (5) ◽  
pp. 471-484 ◽  
Author(s):  
Christiane Paul

This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.


Author(s):  
Vēsma Lēvalde

The digital era has created a new form of textuality, defined ten years ago by British cultural critic Alan Kirby as digimodernism, manifested in both literature and art, and gradually replacing postmodernism. The new media-language theorist Lev Manovich sees similarities in digital art and the aesthetics of the Left Avant-Garde of the 1920s, as well as cinema. In the early and middle 20th-century cinema development produced an impact on modernism art. In the 21st century, digital technologies emerging from film aesthetics leave the footprints in contemporary art and theatre. Identifying the key principles of Kirby’s theory in particular productions allows partial revising Hans-Thies Lehmann’s concept of post-dramatic theatre, and raising a thesis on digimodernism as one of the contemporary tendencies in theatre. Thus, fundamental categories of theatrical language – space, time, character, narrative – are becoming relevant. The article aims to research the narrative in digital art and look for a similar strategy of sense construction in theatre productions, drawing conclusions on the effects of digimodernism on theatre. If a narrative is perceived as a sign system, there are two dimensions – the syntagmatic or “real narrative” and the paradigmatic or a range of choices from which narrative is selectively created. Manovich’s theory proves that in new media language paradigm and syntagma interchange, therefore the paradigm becomes a sense-bearer. Similar principles are applied in modern theatre directing. A typical example is the selected production by Latvian director Elmars Senkovs based on the classic play “Blow, wind!” (Pūt, vējiņi!) by Latvian poet and playwright Rainis. The author of the research concludes that the principles of digimodernism in theatre can change the visual perspective of the stage space, namely, the concepts of “downstage” and “upstage” are often replaced by the terms “top” and “bottom”, making the stage “flat”, similar to a screen. Meanwhile, the central perspective or the narrative as a sense-construction strategy still depends on the intellectual capacity and emotional sensitivity of theatre-makers as interpreters.


This chapter examines many types of new media art that are being created with computing. Displaying art becomes a tool for exchanging information and ideas that also creates channels for the viewers’ input through digital art interactive events. Biology inspired computing applied for artistic tasks has often a mutual relationship with scientific research involving evolutionary computing. Net art, along with other electronic art media, may be seen closely related to the semantic networks and social networking media. Many times these media provide computational solutions for entertainment.


Leonardo ◽  
2010 ◽  
Vol 43 (1) ◽  
pp. 53-58 ◽  
Author(s):  
Carolyn L. Kane

AT&T's Bell Laboratories produced a prolific number of innovative digital art and experimental color systems between 1965 and 1984. However, due to repressive regulation, this work was hidden from the public. Almost two decades later, when Bell lifted its restrictions on creative work not related to telephone technologies, the atmosphere had changed so dramatically that despite a relaxation of regulation, cutting-edge projects were abandoned. This paper discusses the struggles encountered in interdisciplinary collaborations and the challenge to use new media computing technology to make experimental art at Bell Labs during this unique time period, now largely lost to the history of the media arts.


Leonardo ◽  
2017 ◽  
Vol 50 (2) ◽  
pp. 170-176
Author(s):  
Sjoukje van der Meulen

Despite the relevance of new media art for the critical understanding of the information and network societies today, it is largely ignored as a socially engaged practice—certainly compared to other forms of socially engaged artistic practices in the international field of contemporary art. This article outlines the reasons for this relative neglect and specifies different kinds of new media art that qualify for the category of socially engaged art beyond leftist politics and ideologies transposed to the realm of art. Proposing and mobilizing a “media-reflexive” art theory, which emerged from the author’s doctoral dissertation, this claim is substantiated by the analysis of three exemplary digital art projects by Joseph Nechvatal, George Legrady and Blast Theory, respectively.


Author(s):  
Pragati Garg

While creating the creation, God filled the beauty of the universe with unlimited beauty. It also contains beauty as well as spirituality. Art has been expressing the sentiments of human beings from the creation of the universe itself. Man has been expressing his feelings since time immemorial. As human senses developed, art also matured. All the forms provided by nature and the bizarre emotions and rasas evoked in our minds by the artists through different shelters or bases are embodied with the help of various Karan-implements. Epoch changes with inexorable change, and along with it, traditions, styles, language, forms all change, but the tangible form of soul and heart never changes. Just as colors were valued by the creation of life, colors have remained their dominion ever since. He changed but his main source did not change. The artist has made the plan of this original form the subject, and today he has set the paintbrush of the expressions expressing emotions on the threshold of renewal, which is presented to us in the form of digital art. Prior to the 18th century, there were scientific inventions that changed the nature of art itself, a variety of technological developments that gave the traditional art of modern art a renewal. What is today known as digital art, it is known by many names such as computer art, multimedia art and new media art, under which the colors used in traditional form are presented in a new form by digital technology. Do, which greatly affects the viewer. ईश्वर ने सृष्टि की संरचना करते समय सृष्टि के कण-कण में असीमित सौन्दर्य भर दिया। इसमें सौन्दर्य के साथ-साथ प्राणतत्व भी निहित है। कला मनुष्य के भावों को सृष्टि के सृजन से ही व्यक्त करती आयी है। आदिकाल से मनुष्य अपनी भावनाओं की अभिव्यक्ति करता आया है। जैसे-जैसे मानवीय संवेदना विकसित होती गयी, कला भी परिपक्व होती गई। प्रकृति द्वारा प्रदत्त सारे रूप और उन रूपों द्वारा हमारे मन में उद्बुद्ध विचित्र भाव एवम् रसों का कलाकार भिन्न-भिन्न आश्रयों या आधारों के माध्यम से विभिन्न करण-उपकरणों की सहायता से मूर्त करते हैं। निष्ठुर परिवर्तन के साथ युग बदलता है और उसके साथ-साथ परम्परायें, शैलियाँ, भाषा, रूप सभी परिवर्तित हो जाते हैं परन्तु आत्मा और हृदय का मूर्त स्वरूप कभी नहीं बदलता। जिस प्रकार रंगों का महत्व जीवन के सृजन से हुआ, तब से रंग अपना प्रभुत्व बनाये हुये हैं। उसका परिवर्तन तो हुआ परन्तु उसका मुख्य स्त्रोत नहीं बदला। कलाकार इसी मूल रूप की योजना को विषय बनाकर आज वह भावों को व्यक्त करने वाले तूलिका घातों को नवीनीकरण की ऐसा दहलीज पर खड़ा कर दिया है, जो डिजिटल आर्ट के रूप में हमारे समक्ष प्रस्तुत है। 18वीं शताब्दी से पहले वैज्ञानिकी अविष्कार हुये जिन्होंनें कला के स्वरूप को ही बदल दिया, कई प्रकार के तकनीकि विकास किये जिन्होंने परम्परागत चलते आ रहे कला को एक नवीनीकरण का स्वरूप दिया। जिसे आज डिजिटल आर्ट के नाम से जाना जाता है, इसे अनेक नामों से जाना जाता है जैसे- कम्प्यूटर आर्ट, मल्टीमीडिया आर्ट व न्यू मीडिया आर्ट कहा जाता है, जिसके अन्तर्गत हम परम्परागत रूप में प्रयुक्त रंगों को डिजिटल तकनीक द्वारा एक नये रूप में प्रस्तुत करते हैं, जो दर्शक को बहुत प्रभावित करता है।


Author(s):  
Boyan Blazhev ◽  

With the advent and dissemination of digital technologies, devices and means in the middle of the twentieth century, dramatic changes occurred in all spheres of life. The data reporting environment is changing and the era of new media is approaching. Digital technologies and the global network have a fundamental impact on culture, traditions and art. In this context, in terms of visual art, digital technologies allow for the emergence of new artistic practices that take their place next to classical art activities. Leading the way is the idea that digital technology is not just a tool, but rather a creation process, thus focusing on the concept inspired by the digital context rather than on the means expressed. In modernity, visual art and scientific achievements live in harmony. Keywords: Digital Art; Art; Virtual Reality (VR); Technological Innovations; Net Art; Artificial Intelligence (AI); New Media Art


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