A Critical Inquiry: Paintbrush to Pixels; Developing Paradigms In The Production and Consumption of New Media Art. Brett Aggersberg, MA, PGCTLHE, BSc (Hons) DIRECTOR OF STUDIES (Dr Karen Ingham) SECOND SUPERVISOR (Dr Howard Riley) THIRD SUPERVISOR (Dr Paul Jeff) STATEMENT: This research was undertaken under the auspices of the University of Wales: Trinity Saint David and was submitted in partial fulfilment for the award of a Degree of PhD in the Faculty of Art and Design of the University of Wales. 2017 1 Abstract Art represents our culture, and our current culture is largely dependent on technology. However, artworks created and exhibited with digital technologies have not been as perceptible so far within contemporary arts institutions as traditional analogue art forms. This thesis instigates a critical investigation into the development and values of technology-based art works utilizing qualitative interpretations of the data. Whilst this rapidly changing field is problematic in terms of a conventional conclusion, the principle aim is to explore whether an improved understanding and awareness of new media art is required as a result of the paradigm shift caused via the permeation of digital technologies across art practices. The resulting new methods of production, distribution, and consumption within art require updated models of critical engagement. An appropriate paradigm shift in respect of institutions, curators, and artists will aid the integration and awareness of new media art into the broader art world. Whilst my hypothesis implies an argument for a greater presence of new media art in arts institutions, I conclude however that it is better suited to alternative modes of exhibition, such as festivals, craft labs, and workshops, as a shift from traditional art paradigms means they no longer require traditional structures of display. New media based art would truly benefit from greater awareness through a developed lexicon, education, and reportage. The balance between the institution, and growing trends such as festivals and commercial applications has been identified as key. If art forms utilising new technology do not also utilise the new expressive language it affords, then they will merely be seen as replicating old forms, rather than developing new and revolutionary ones. New media’s role within art is through a progressive discourse, which is still to fully reveal its place and relationship with mainstream contemporary arts. Based on an extensive critical survey and a probing investigation into the current parameters of new media arts this thesis seeks to contribute to that discourse. 3 Acknowledgements This thesis is dedicated to my loving parents Cathy and Lawrence, brother Dean, wife Sian; and is for the future creative prospects of my children Ellie and Charlie. The completion of this work would not have been possible without the continued advice and support of my supervisors Dr Karen Ingham, Dr Howard Riley, and Dr Paul Jeff, and the generous support of the University of Wales Trinity Saint David. 4 Table of Contents Abstract .............................................................................................................................. 3 Acknowledgements ......................................................................................................... 4 List of Illustrations .......................................................................................................... 7 Opening Quotes .............................................................................................................. 10 Preface .............................................................................................................................. 11 Hypothesis................................................................................................................................ 11 Structure of Research and Paradigms .............................................................................. 18 Structure of Thesis ................................................................................................................. 25 Lexicon of the Thesis ............................................................................................................. 32 Chapter One: Background and Focal Theory ......................................................... 53 Background Theory ............................................................................................................... 55 Focal Theory ............................................................................................................................ 66 Overview of Relevant Research and Theoretical Bases .............................................. 85 Chapter Two: Defining and Identifying Value in Digitally Mediated Art ........ 89 Introduction............................................................................................................................. 89 New Traditions ....................................................................................................................... 90 Transparent Aesthetic .......................................................................................................... 97 Positive and Negative Associations ................................................................................ 108 Simulation and Reflection of Society ............................................................................. 119 History and Nostalgia ......................................................................................................... 134 Summary ................................................................................................................................ 139 Case Study: Camille Utterback- Literary and Temporal Interactive Spaces ......................................................................................................................................... 144 Introduction.......................................................................................................................... 144 Visual Resolve- A Journey From Text To Image .......................................................... 147 The Body As Temporal and Aesthetic Control ............................................................ 156 Summary ................................................................................................................................ 162 Chapter Three: Virtual Touch- Virtual Reality As Fine Art Space ................. 165 Virtual Reality ...................................................................................................................... 166 Haptic Qualities and Distance .......................................................................................... 168 Interaction ............................................................................................................................ 176 Summary ................................................................................................................................ 181 Case Study: The Allegories of Life, Religion, and Space Through The Virtual Touch of Char Davies. ................................................................................................ 184 The Artist ............................................................................................................................... 184 A Bookmark For New Media Art...................................................................................... 191 Alternative Reality .............................................................................................................. 194 Transcendence ..................................................................................................................... 199 Physics of Reality................................................................................................................. 200 Remediation ......................................................................................................................... 204 Performance ......................................................................................................................... 206 Subversion ............................................................................................................................ 207 Summary ................................................................................................................................ 209 Chapter Four: New Media Art As Part of Our Evolving Digital Culture ........ 210 Information Society ............................................................................................................ 210 Online Communities, Cultures, and Patronage: .......................................................... 225 5 Summary ................................................................................................................................ 243 Case Study: Alife- Christa Sommerer and Laurent Mignonneau .................... 245 Introduction.......................................................................................................................... 245 Artificial Life ......................................................................................................................... 246 Cybernature-......................................................................................................................... 251 Interactive Plant Growing 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