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Cyborg Art History Techno-aesthetics and Metafictions of Digital Culture

Cyborg Art History Techno-aesthetics and Metafictions of Digital Culture Elizabeth K Menon Purdue University Http://www.snappyprof.com Cyborg Art History Integrate digital/technology art into “canon” Strategies depend on objectives New categories e.g. “web art” Comparative Analysis

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Cyborg Art History Techno-aesthetics and Metafictions of Digital Culture

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  1. Cyborg Art HistoryTechno-aesthetics and Metafictions of Digital Culture Elizabeth K Menon Purdue University Http://www.snappyprof.com

  2. Cyborg Art History • Integrate digital/technology art into “canon” • Strategies depend on objectives • New categories e.g. “web art” • Comparative Analysis

  3. Methodologies • “Neo-Panofsky” (Menon, 2003) • Collaborative Art History (Menon, 2004)

  4. http://www.sabartes.com

  5. Petronio Bendito Digital Kinetic Painting (launched 2003)

  6. See: • Semir Zeki, Inner Vision (2003)

  7. Techno-aesthetics • Ut pixel poesis (Menon, 2003) • “Taste for Technology” • Systems (process, medium, tools) • Concepts (language) • Objects (formal qualities)

  8. Systems • Script (HTML, XML, Lingo) • Programming Language (Java, C/C++, Perl) • Software Programs (Flash, Director)

  9. http://www.sito.org/hygrid

  10. Jason Salavon The Top 25 Grossing Films of All Time, 2 x 2

  11. Jason Salavon Modern Lifestyle Mandala (digital C print)

  12. Petronio Bendito E-Fetish (launched 2002)

  13. Concepts • “Digital Semiotics?” • Digital icon = trash can, folder • Digital index = hyperlink • Digital symbol = “browser,” “web” • On semiotics and the internet see: • Callahan (semiotics and GUI design) • Sherson (metaphors and web design)

  14. Objects • Hardware (the monitor etc.) • Screen display (pixels) • On the potential aesthetics of technology see R. L. Rutsky High Techné (1999)

  15. Jason Salavon The Jason Salavon Show (custom hardware)

  16. Jason Salavon #27884 Golem (the printer)

  17. Metafictions of Digital Culture • The transformation and filtering of reality • Role of the display method • Museum space, virtual gallery, private home • “virtual” Museum Theory? • Effect on the viewer • “virtual” Reception Theory?

  18. Digital Gallery - LA MOCA

  19. Display • Open internet access • Museum-sponsored “virtual gallery” with open access • Digital display in physical museum space (monitor, projection) • Kiosks, PDAs • How does display method affect perception of work as “art”?

  20. Reception • Psychological variance based on display space (home vs. museum) • Level of engagement, interactivity, connectivity • How does reception affect perception of work as “art”?

  21. Interactivity • Closed vs. open systems • Simple vs. reactive response • “Multilogue” vs. one-way distribution • On interactivity and the role of the viewer see: • Roy Ascott (1960s onward) • Brenda Laurel Computers as Theater (1993) • Pierre Lévy Cyberculture (2001)

  22. Carolyn Speranza Hole Poem (1995)

  23. Closed system Simple ResponseOne-way distribution “Body Art”

  24. Jason Salavon Bootstrap the Blank Slate (launched June, 2003)

  25. Open System Reactive ResponseMultilogue “Process Art / Happening”

  26. Artists’ Websites Petronio Bendito: http://www.petroniobendito.com Digital Kinetic Painting: http://web.ics.purdue.edu/~pbendito/digital_kinetic/dkintic_intro.htm Hygrid: http://www.sito.org/synergy/hygrid.html Jason Salavon: http://www.salavon.com Bootstrap the Blank Slate: http://www.moca.org/museum/dg_detail.php?dgDetail=jsalavon Carolyn Speranza: http://www.speranza.net.net 

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