Art Practice in a Digital Culture (Digital Research in the Arts and Humanities)
Charlie Gere, Hazel Gardiner
Language: English
Pages: 226
ISBN: 1138267864
Format: PDF / Kindle (mobi) / ePub
Much as art history is in the process of being transformed by new information communication technologies, often in ways that are either disavowed or resisted, art practice is also being changed by those same technologies. One of the most obvious symptoms of this change is the increasing numbers of artists working in universities, and having their work facilitated and supported by the funding and infrastructural resources that such institutions offer. This new paradigm of art as research is likely to have a profound effect on how we understand the role of the artist and of art practice in society. In this unique book, artists, art historians, art theorists and curators of new media reflect on the idea of art as research and how it has changed practice. Intrinsic to the volume is an investigation of the advances in creative practice made possible via artists engaging directly with technology or via collaborative partnerships between practitioners and technological experts, ranging through a broad spectrum of advanced methods from robotics through rapid prototyping to the biological sciences.
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Foraging behaviour 5.8 Early DrawBot image using the line-crossing fitness 5.9 Line-crossing fitness simulator 5.10 An early prototype of the DrawBots 5.11 DrawBot V2.0 5.12 Results using an indirect ‘ecological’ fitness function 67 68 70 71 6.1 6.2 6.3 6.4 6.5 6.6 6.7 6.8 Muscle Machine Prosthetic Head Partial Head Walking Head Third Hand Stomach Sculpture Ear on Arm Fractal Flesh 7.1 Parallel Worlds, 1990 7.2 The representation of.
Brighton, Research in Fine Art, pp. 351–2. Of these, four were PhD awards, three were MPhils, two were withdrawn, two were rejected, one remained registered for thirteen years, and eight seem unaccounted for (p. 351). Two of these degrees, at least, were investigations of sculptural practices. Triangulating Artworlds: Gallery, New Media and Academy 23 departments do not seem to figure in these early ventures.32 Two other research degrees were undertaken at Newcastle-under-Lyme Polytechnic. (A.
Investigate the utility of RP for making art. In our edited conversation below – which itself began as a prototype-like interview – we were concerned to explore the ways in which RP is connected to other forms of computer and digital culture, as well as to contextualize the work in terms of other perceptions of models and modelling. Many readers will be familiar with Jane’s TechnoSphere project, and she begins by reflecting on the politics of such exercises in simulation. The conversation also.
Which incorporates a lower-body exoskeleton connecting it to the robot. Encoders at the joints provide the data that allow the human controller to move and direct the machine as well as vary the speed at which it will travel. The action of the human operator lifting one leg causes three machine legs to lift and swing forward. Lifting the other leg lifts the alternate robot legs. By turning its torso, the body makes the machine walk in the direction it is facing. Thus the interface and interaction.
To justify a project within research criteria and scientific narratives to enable adequate funding. For an artist to think about research aims, methodologies and outcomes is to constrain creative thought and practice. Often what is interesting about artistic practice is what happens between the intention and the final outcome: the slippage between the idea and the actuality. This can happen in artistic practice because the artwork is not primarily concerned with any utilitarian use. There is.