Art 415 Foreword: Computers are Useless

The Art 415 foreword first discusses how computers transformed early computer generated art.  Many celebrate technology for what it can do for its users, but this foreword has a different approach to the technological era society lives in today.  The whole point to the statement computers are useless is to say that, computers can only do so much for the artist, ideas and  conceptualizing are still needed.  Computers or any other medium are just tools to what the artist has already conceptualized for the work intended.  The foreword continues to discuss the role of the audience.  It states that the medium used by an artist must be made with the thought process of creating a work for the audience intended for the current time period.  A great example of this is the following quote “In our time, one need not make digital art, but one must certainly make art for a digital age.”  I tend to agree with the foreword in terms of its new art universe.  The terms traditionally used throughout the art fields are no longer easy to understand for audiences and artists alike.  The foreword suggests that society needs a Rosalind Krause like analysis to the new digital age explaining the new terms to help understand the new works being created.

 

http://newmediaabington.pbworks.com/w/page/31579268/ART%20415%20-%20Foreword

Semiotic Square- A Reaction to Rosalind Krause

semiotic_square

Rosalind Krause’s article titled Sculpture in the Expanded Field functions as an explanation to how sculpture evolved.  It gave society a new way to understand the sculptures being created during that time.  Society was confused by the sculptures being made due to the new concepts and breaking of traditional rules of sculpture.  Now anything was possible with this field and artists were exploiting mediums to new levels.  Her article was a bit confusing, but after a long discussion and the production of my own semiotic square, I now understand her points better.

Above I created my own semiotic square using Krause’s square as a model.  This semiotic square explains my own understanding of my field which is a combination of animation and the digital world. Animation refers to the hand-drawn forms that began what we now have transformed into a computer generated medium.  Whereas digital refers to ever advancing platform of technology in today’s society.  In terms of my own work, I am exploring both digital and animation in order to create a semester project.  These terms that I arrived at come from my own understanding of the terms themselves.

When combining the terms digital and animation together, I came up with animation software.  To me the combination of animation and digital brings to life the ever expanding field of computer animation, which is created through animation software.  The combination of not-digital and not-animation combine to create the very opposite of animation software, which to me is reality or an environment.  Reality is the tangible unlike the digital world.  The terms animation and not-animation create narrative.  Narrative is paramount to a work due to the fact that it is one of the most important aspects.  Without a narrative the work simply does not exist.  Digital and not-digital combine to create effects.  Effects are created when exploring the narrative.  Many believe that effects are only seen in a digital platform, but are also present in reality.

An Incomplete Manifesto for Growth by Bruce Mau Response

Bruce Mau’s Incomplete Manifesto for Growth gives a detailed list of important points for artists to keep in mind when creating work.  Mau made an interesting statement with the first point in his manifesto.  “1. Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.”  Every day occurrences can effect a person’s perspective and artists often take from these experiences to fuel their work.  It not only gives constant inspiration, but is what makes your work unique to others.

The next point I found interesting deals with collaboration.  “16. Collaborate. The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.”  Animation is all about collaboration, along with many other things in life.  Almost every artist must collaborate at some point in their career.  It makes for great work and opportunities to learn new things.

The next point deals with ideas, which is the starting point to an artists work.  “29. Think with your mind. Forget technology. Creativity is not device-dependent.  This is especially true for those of us in the digital field.”  We rely so heavily on technology when all of our concepts and ideas come from reality.  Many times when we open our minds great things can occur.

“33. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.”  Exploring new places expand the views we have and inspire new ideas.  Exploring also helps artists make their work more realistic.  Our minds are ever expanding and need new settings to bring about ideas.

One of the most important points Mau made was number 41.  “41. Laugh. People visiting the studio often comment on how much we laugh. Since I’ve become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.”  Laughter is one the most important tools an artist can possess.  Laughter can make a work less serious while conveying important issues.  Whether you are an artist or not, this manifesto can be used to help everyone expand creative thought processes and achieve new levels of thinking.

Thesis

People are increasingly obsessed with virtuality while ignoring the reality around them, forcing these entities to become separate. Society, as a whole, tends to choose between the real and the digital, believing there must be a choice of one world over the other, when in fact both can be converged. Today there exists a movement, within animation among other disciplines, to merge the two. I intend to create a computer-animated short immersing reality into a digital medium. This short will create a lifelike environment displaying a weather cycle, which will require the use of physics engines and particle effects.