Genealogy And Aesthetics
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The Genealogy Of Aesthetics
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Author : Ekbert Faas
language : en
Publisher: Cambridge University Press
Release Date : 2002-08-15
The Genealogy Of Aesthetics written by Ekbert Faas and has been published by Cambridge University Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2002-08-15 with History categories.
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Genealogy And Aesthetics
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Author : Dominic Paterson
language : en
Publisher:
Release Date : 2006
Genealogy And Aesthetics written by Dominic Paterson and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2006 with Aesthetics categories.
The Genealogy Of Aesthetics
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Author :
language : en
Publisher:
Release Date : 2011
The Genealogy Of Aesthetics written by and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2011 with categories.
From Point To Pixel
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Author : Meredith Hoy
language : en
Publisher: Dartmouth College Press
Release Date : 2017-01-03
From Point To Pixel written by Meredith Hoy and has been published by Dartmouth College Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2017-01-03 with Art categories.
In this fiercely ambitious study, Meredith Anne Hoy seeks to reestablish the very definitions of digital art and aesthetics in art history. She begins by problematizing the notion of digital aesthetics, tracing the nineteenth- and twentieth-century movements that sought to break art down into its constituent elements, which in many ways predicted and paved the way for our acceptance of digital art. Through a series of case studies, Hoy questions the separation between analog and digital art and finds that while there may be sensual and experiential differences, they fall within the same technological categories. She also discusses computational art, in which the sole act of creation is the building of a self-generating algorithm. The medium isn't the message - what really matters is the degree to which the viewer can sense a creative hand in the art.
From Point To Pixel
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Author : Meredith Anne Hoy
language : en
Publisher:
Release Date : 2010
From Point To Pixel written by Meredith Anne Hoy and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2010 with categories.
From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Whitney Davis, Co-chair Professor Jeffrey Skoller, Co-chair When we say, in response to a still or moving picture, that it has a digital "look" about it, what exactly do we mean? How can the slick, color-saturated photographs of Jeff Wall and Andreas Gursky signal digitality, while the flattened, pixelated lanscapes of video games such as Super Mario Brothers convey ostensibly the same characteristic of "being digital," but in a completely different manner? In my dissertation, From Point to Pixel: A Genealogy of Digital Aesthetics, I argue for a definition of a "digital method" that can be articulated without reference to the technicalities of contemporary hardware and software. I allow, however, the possibility that this digital method can acquire new characteristics when it is performed by computational technology. I therefore treat the artworks covered in my dissertation as sensuous artifacts that are subject to change based on the constraints and affordances of the tools used in their making. But insofar as it describes a series of technological operations, the word digital often references the tool used to make the art but does not help a viewer/user relate to the art as a sensorially apprehensible artifact. Consequently, I gather together artworks that disclose visible evidence of their digital construction in order to identify the perceptible characteristics of digitally processed artifacts. I foreground not the hidden operations of computers--the intricacies of binary code and programming languages--but rather the surface qualities of digital graphics. While acknowledging that internal processes govern the aesthetic properties of these surfaces, I investigate the extent to which it is possible to encounter digitality at the level of the interface. Taking into account that the sensuous object will be informed by an underlying conceptual and technological framework or genotype, I set out to discover whether certain phenotypic aspects of digitality will be inherently accessible at a phenomenological level. Much of the best scholarship in media studies has offered cogent analyses of the political, social, and economic formations that emerge alongside digital technologies. These readings of "networked culture" focus on the systems of power/knowledge that arise from the Web 2.0 and a globalized world economy. Although this research proves invaluable to the understanding of a culture shaped by ubiquitous computing, a well-developed methodology for interpreting the role of digital technology in art practice must also situate digital artifacts in a specifically art historical and theoretical context. When do digital artifacts overcome their dubious status as mere demonstrations of technical novelty, and become artworks worthy of serious consideration? What is the importance of digital technology as an artistic medium, and how do affordances and constraints and technical parameters of digital processing influence the sensible configurations of computationally generated artifacts? Despite its foundation in immaterial electronic pulses, digital technology produces material effects on culture and communication. The assessment of digital images is often based on their "reality quotient"--The degree to which they accurately reproduce the optical and haptic conditions of external world. The fascination in digital cultural studies with virtual reality, second life, and other such practices supports this view, and also leans dangerously towards the notion that progress in art is achieved by producing ever more sophisticated techniques for rendering illusions of spatial depth. This concentration on the immersive capacities of digital graphics runs the risk of assuming a teleological progression in art towards "accurate" spatialization and virtualization. But this is not a tenable model for art historical investigation, given that the evaluation of art objects based on culturally determined signifiers of naturalism is exclusionary of alternate visual models and historical traditions. It is therefore imperative to consider depictions that exhibit visible evidence of digital construction--digital aesthetic characteristics--independently of the virtualizing capability of computational technology. My dissertation examines a subset of digital image-making practices that suppress virtualization in order to examine the structural principles undergirding digital graphics. In parsing these often abstract, highly formalized pictorial strategies, I conclude that they convey a different aesthetic and architectonic sensibility than analog depictions. Over the course of five chapters, my argument moves between theoretical analysis and case studies of artworks produced both with and without the aid of computers. Chapter One outlines the theoretical models used to differentiate digital and analog properties, and illustrates how and why art historical discourse has accorded value to artworks based on analog principles, such as fineness of color, texture, and line. It argues that discrete, particulate digital artifacts are constructed according to different principles than analog artifacts, which are relatively smooth and continuous with no absolute division between parts. My review of the formal characteristics of digital systems sets the stage for my argument that an observable model of digital facture--a digital method--preexists electronic, binary computers and that this digital process results in a digital aesthetic. Understanding this aesthetic is useful for theorizing the genealogy of contemporary computational graphics. Additionally, it provides for alternate theorizations of artifacts that have not traditionally found a secure place in the artistic canon, and it affords a new interpretive schema with which to examine artists and artworks whose position in the art historical demands renegotiation. In my second chapter, I support the claims of the preceding chapter by evaluating the extent to which the work of several modernist painters, including Paul Cezanne, Georges Seurat, and Paul Klee, exhibits constitutive features of a digital system. I use my findings to argue that understanding these artists' roles as experimenters with a digital method adds a new dimension to the theoretical, aesthetic, and historical significance of their work. The following two chapters provide comparisons between artists who apply a digital method without electronic computation and artists whose digital aesthetic is computationally driven. Chapter 3 attempts to recuperate the value and relevance of Op-Artist Victor Vasarely. Through an inspection of his writings and his algorithmic painting practices, I trace Vasarely's lifelong goal to develop a programmable visual language, and demonstrate how, without ever touching a computer, he was attempting in his practice to adopt a visual model of a digital system. In the second half of the chapter, I introduce the example of Marius Watz's computationally-generated homage to Vasarely's work in order to ascertain whether the use of a computer alters the visible qualities of Vasarely's plastic language. In Chapter 4, I examine Casey Reas's fraught and often contradictory response to the legacy of conceptual art in programming-based practices. Through a comparison between Reas and Sol LeWitt, I maintain that Reas occupies an oscillatory position with respect to the values traditionally attached to analog aesthetics, such as immediacy and uniqueness/irreproducibility. By mobilizing algorithmically encoded instructions to automate artistic production, Reas reinforces the turn away from the cult of the artist achieved in conceptual art. But at the same time, Reas's fascination with handmadeness and organicism preserves a link to analog aesthetic principles. Finally, my conclusion shifts away from direct comparison between computationally and non-computationally digital art, and instead assays the discursive resonances between Jason Salavon's software-based computational "paintings" and the increasingly widespread use of information visualization as primary mode of mapping the vast amounts of data produced by the mechanisms of the "culture industry". The works under consideration in my dissertation cohere around questions and problems related to painting. Part of the difficulty in defining "digital art" as a singular medium or genre is that the range of artifacts potentially contained under the rubric of digital art is massive and therefore resistant to canonization. A concentration on painting initially allowed me to refine my analytic method. However, the broader rationale behind this constraint grows out of the fact that the screen-based computational pictorialization analogizes painting. I contend that painting, despite, or perhaps due to its status as a two-dimensional mode of depiction, is deeply concerned with spatial and material architectonics. Painting is invested not only in the problem of how to graphically render volume and depth, but also the dynamic spatial relationship between bodies and concrete objects. Similarly, digital rendering must cope with the question of how to present the relationship between objects and spaces in two, three, or multiple dimensions. My goal is to discover whether the technical parameters of computation affect the way pictures are constructed, the kinds of subjects for which computers have the greatest representational facility, and by extension, the way digital pictures--the graphical index of digital technesis--will ultimately look. Overall, my dissertation offers a methodology for speaking about and contextualizing digital practices within the history of art and visual culture. While programming literacy is important for many scholars, producers, and users of digital hardware and software, if artifacts made.
The Genealogy Of Postmodernism S Ethical Aesthetics
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Author : Andrew Padgett
language : en
Publisher:
Release Date : 2006
The Genealogy Of Postmodernism S Ethical Aesthetics written by Andrew Padgett and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2006 with Aesthetics categories.
Charting A Genealogy Of Participatory Aesthetics
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Author : Anna McWebb
language : en
Publisher:
Release Date : 2021
Charting A Genealogy Of Participatory Aesthetics written by Anna McWebb and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2021 with categories.
In this thesis, I will examine the aesthetics of participation in art by analyzing how participatory tactics used by Dadaists during the historic avant-garde inform contemporary new media practices. I argue that Dadaists activated participatory methods in the early 20th century through chance encounters and social engagements, which resulted in the emergence of a participatory subject. Through an analysis of the theoretical framework of participatory aesthetics, I will show how the trajectory of the participatory subject, and participation in art more broadly, is problematized by the rise of digital technologies and new media practices. I maintain that the trajectory of participatory aesthetics from the historic avant-garde to its contemporary iterations is continually informed by social activism. I demonstrate this through the analysis of artworks that collapse the boundaries between artist and audience, in order to point to the intersection of the Internet and participatory aesthetics.
A Genealogy Of Cyborgothic
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Author : Dongshin Yi
language : en
Publisher: Routledge
Release Date : 2017-03-02
A Genealogy Of Cyborgothic written by Dongshin Yi and has been published by Routledge this book supported file pdf, txt, epub, kindle and other format this book has been release on 2017-03-02 with Literary Criticism categories.
In his provocative and timely study of posthumanism, Dongshin Yi adopts an imaginary/imaginative approach to exploring the transformative power of the cyborg, a strategy that introduces balance to the current discourses dominated by the practicalities of technoscience and the dictates of anthropocentrism. Proposing the term "cyborgothic" to characterize a new genre that may emerge from gothic literature and science fiction, Yi introduces mothering as an aesthetic and ethical practice that can enable a posthumanist relationship between human and non-human beings. Yi examines the cyborg's literary manifestations in novels, including The Mysteries of Udolpho, Frankenstein, Dracula, Arrowsmith, and He, She and It, alongside philosophical and critical texts such as Edmund Burke's A Philosophical Enquiry into the Origins of Our ideas of the Sublime and Beautiful, Immanuel Kant's Critique of Judgment, John Stuart Mill's Utilitarianism and System of Logic, William James's essays on pragmatism, ethical treaties on otherness and things, feminist writings on motherhood, and recent studies of posthumanism. Arguing humans imagine the cyborg in ways that are seriously limited by fear of the unknown and current understandings of science and technology, Yi identifies in gothic literature a practice of the beautiful that extends the operation of sensibility, heightened by gothic manifestations or situations, to surrounding objects and people so that new feelings flow in and attenuate fear. In science fiction, which demonstrates how society has accommodated science, Yi locates ethical corrections to the anthropocentric trajectory that such accommodation has taken. Thus, A Genealogy of Cyborgothic imagines a new literary genre that helps envision a cyborg-friendly, non-anthropocentric posthuman society. Encoded with gothic literature's aesthetic embrace of fear and science fiction's ethical criticism of anthropocentrism, the cyborgothic retains the prospective nature of these genres and develops mothering as an aesthetico-ethical practice that both humans and cyborgs should perform.
The Genealogy Of Values
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Author : Edward Andrew
language : en
Publisher: Rowman & Littlefield
Release Date : 1995
The Genealogy Of Values written by Edward Andrew and has been published by Rowman & Littlefield this book supported file pdf, txt, epub, kindle and other format this book has been release on 1995 with Literary Criticism categories.
Until the time of Karl Marx and John Stuart Mill, philosophers generally held economics to be an integral element of moral philosophy. These days, the language of values--moral, aesthetic, and cognitive--dominates philosophic discourse, even though contemporary philosophers rarely hold economics to be integral to moral philosophy. Examining the thought of Friedrich Nietzsche and the art of Marcel Proust, Edward Andrew provides the first sustained critical analysis of values discourse, an analysis that deconstructs its content and its form.
The Love Of Painting
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Author : Isabelle Graw
language : en
Publisher: National Geographic Books
Release Date : 2019-04-02
The Love Of Painting written by Isabelle Graw and has been published by National Geographic Books this book supported file pdf, txt, epub, kindle and other format this book has been release on 2019-04-02 with Art categories.
A study of how the rhetoric of painting remains omnipresent in the field of art. Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw's The Love of Painting considers the art form not as something fixed, but as a visual and discursive material formation with the potential to fascinate owing to its ability to produce the fantasy of liveliness. Thus, painting is not restricted to the limits of its own frame, but possesses a specific potential that is located in its material and physical signs. Its value is grounded in its capacity to both reveal and mystify its conditions of production. Alongside in-depth analyses of the work of artists like Édouard Manet, Jutta Koether, Martin Kippenberger, Jana Euler, and Marcel Broodthaers, the book includes conversations with artists in which Graw's insights are further discussed and put to the test.