Free Term Paper About Art And Technology
Technology and art have intertwined in the recent past, which has led to the questioning of art is headed and whether the development of technology is in the interest to have more artistic processes. The reliance on technology has led to the question of whether the two will develop one another. The issues that are in place will have to be developed will help to understand the issues that are in place in the entire process. This paper would be useful in getting an understanding of the direction that the relationship between art and technology has taken. It will focus on how this extension has been seen to be taking place.
One of the questions that has been raised with the use of technology is whether it enhances or kills the creative process. With the emergence of technologies and the rise of good programs that are used in art, the creative process has relied heavily on technology. It is unlike in the past where artists would make use of their creative processes to have some original art. The questions that have risen in the past is whether the reliance on computers still has some potential or if it has been achieved in the recent past. These are the issues that have been raised and are of great concern in the society today. There has been the call to make use of the past events to have a trajectory of the fast-moving relationship between technology and art.
It is important to understand the origin of technology and the developments that have been seen in this field so that it will help to show the relationship between technology and art. It is a technique that has been used to show the various advances and the changes that have been seen in the field of art. This technique has helped to show the various advances and he changes that have been seen in the various categories of art. The development of technology has helped to enhance the creativity process of artists. Shakespeare could not have become the most influential without the use of the quill. However, the technologies that have been used in the past are the technologies that are traditional tools and not ICT per se.
Historical perspective of the relationship
There has been the historical development of art and technology. This development has helped in the management and understanding of the various developments that have been seem in the world. The first exhibitions that used computer graphics were in 1965 when Georg Nees made use of computers to undertake his exhibitions. The exhibitions showed the work that were produced with the use a graph plotter. The computer program that was used to undertake this plotter and graphic representation was written and developed by Nees. There are some explorations that were undertaken with the use of computer devices. This was during the popular exhibition of Cybernetic Serendipity in 1968. The exhibition showed how technologists and artists were coming together in a collaboration that showed how the two were working together to have technology and art collaborate. Rene Berger divides art experiences in terms of the sensory information that the art form uses. Bruce Wands uses a historical, chronological framework as a tool of categorization in Art in a Digital Age. Alan McKay, in his essay in Computer, Art & Technology has helped for me to make sense of advances divided into physical components, most notably, new tools. Notable examples of tools that have already had profound effects include the digital camera, digital recording devices, and digital film and of course, the computer, which has become the prominent interface between human and technology. We can further divide the computer into subgroups of software that all together alters the creative process and produces the interface experience. Also, we must consider new technologies by new means of materials, new means of presentation, and new means of analyzing art. With every new technology there arises new possibilities, so it is important to lay out these changes in an organized manner.
There have been the use of technology in experimental art from the 1980s onwards. There were many organizations which were formed to enhance the development of experimental arts and technology. The number of artists who were involved in this process multiplied. The number of organizations who were seen to promote the development and the relationship were seen to come from various backgrounds which differed. The backgrounds that these organizations were seen to come from included music, creative arts, performance and film. These backgrounds each came with a different orientation on the relationship between art and technology. It helped to come up with the issues and the aspects that would help in the management and enhancement of the relationship between art and technology. There are many ways in which the relationship between technology and art can be developed and viewed. The different approaches have brought about the different agendas and interaction framework that can be used in the entire process.
For the sake of undertaking new research and understanding more on the relationship between technology and art, it is necessary to understand how technology has been integrated in technology. The study of the creative process has been an issue that has helped in the enhancement and the development of the whole process. The research process and the issues that need to be addressed is the relationship between technology and the effect it has on the creative process. Also, it shows the environments in which these developments can take place and how these environments will eventually help enhance art. Some of the questions that come to mind in this aspect is whether technology is being developed to help art or it is art that is being changed to suit the recent developments of technology.
The current state is where there is the participants and the artists playing the role of audience. They are the audience and the computer is the medium and the main tool that is used in the exhibition.
There is also the philosophical persprctive that has been developed to show the relatiohsip between technology and art. There is ought to be a reason for the use of illusion and artificial developments instead of the creative process that will help in the entire aspects of the development. Why do we feel the need to increasingly immerse ourselves in an artificial, almost illusionary world, substituting the purity and reality of nature with a virtual replacement? How does this alternate world change our perceptions of the real one in which we truly reside?
Reichard, Jasia. Cybernetics, Art and Ideas (12)
Entrance to the Cybernetic Serendipity exhibition at the Institute of Contemporary Art in the summer of 1968. The exhibition was hugely influential in bringing to light the possibilities between man, creativity, chance and the computer. More specifically, the computer was to be understood as the new link between the rigid disciplines of maths and sciences and the irrational intuitive process associated with the art. The show was hugely influential among scientist, artists and the general public. It received a total estimate of 60,000 visitors and was as a result extended, exhibiting in the United States.
Berger, Rene and Eby, Llyod. Art and Technology (xiv)
TIME magazine’s “Man of the Year” breaks the rules in 1983, replacing man for this first time with “Machine of the Year”. At this time, 1983, opportunities were being seized and possibilities were coming into fruition. The powerful capabilities of the computer were undeniable, and the widespread acceptance and access to the computer was just beginning.
Mackay, Alan L, Mallen, George L, King, Mike et al. Computers in Art, Design and Animation. (51)
A diagram representing the Mandelbrot Set, published in Computers in Art, Design and Animation. The Mandelbrot set was a revolutionary discovery made by Benoit Mandelbrot in 1983, which visualizes a mathematical equation that had been known previously, but was not visually accessible until the mathematical capabilities of the computer. It describes a two dimensional field of complex numbers, real numbers on the x-axis and imaginary numbers on the y-axis, and calculates whether a number belongs to the set by applying an iterative equation on each coordinate. Whether a number reaches infinity or not determines whether it is part of the set or not. The resultant visual, known as ‘God’s fingerprint’, is an infinitely deep, detailed and ever-changing fractal pattern that has been widely popularized for its aesthetic beauty and its quality as being an infinitely complex structure made with simple rules. Ultimately, it has changed our perception on the relationship between math and art, making it evident that the two are closer intertwined than we once thought.
Berger, Rene and Eby, Llyod. Art and Technology (283)
A diagram published in Art and Technology that describes the relationship between the artist’s idea and the alteration of that idea through a series of steps. Ideas are made readable by the computer through the use of algorithms. Algorithms are repeated (cybernetics) and are then altered through a set of computerized steps, in which they are input into machines, programmed, filtered, analyzed, coded and translated for materialization and consumption.
Ascott, Roy. Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness. Berkely, University of California Press, 2003
Beardon, Colin, Malmborg, Lone. Innovations in Art & Design: Digital Creativity. Swets & Zeitlinger, 2002
Bryant, Antony, Pollock, Griselda. Digitial and Other Virtualities: Renegotiating the Image. New York, I.B.Tauris & Co Ltd, 2010
Candy, Linda, Edmonds, Ernest. Explorations in Art & Technology. London, Springer-Verlag, 2002
Cavazza M, Eisenberg M, Hatcher B, Berzowska J, et al. Creativity & Cognition: Proceedings 2005. New York: The Association for Computing Machinery, 2005
Gartel, Lawrence M. A Cybernetic Romance. Gibbs Smith, 1989
Gerken, Ellen K. The Brightest in Computer-Generated Design & Illustration. North Light Books, 1990
Greene, Rachel. Internet Art. London, Thames & Hudson World of Art, 2004
Krueger, Myron W. Artificial Reality II. Addison-Wesley Publishing Company Inc, 1991
Lopes, Dominic McIver. Philosophy of Computer Art. New York, Routledge, 2010
Loveless, Richard, The Computer Revolution and the Arts. University Presses of Florida, 1989
Paul, Christine. Digital Art (Revised & Explanded Version). London, Thaes & Hudson Ltd, 2008
Popper, Frank. From Technological to Virtual Art. Cambridge, The MIT Press, 2007
Prueitt, Melvin L. Art and the Computer. New York, McGraw-Hill, 1984
Rodgers, Paul, Smyth, Michael. Digital Blur: Creative Practice at the Boundaries of Architecture, Design and Art. Libri Publishers, 2010
Schwab, Michael. Experimental Systems: Future Knowledge in Artistic Research. Belgium, Leuven University Press, 2013
Taylor, Grant D. When The Machine Made Art: The Troubled History of Computer Art, Volume 8. New York, Bloomsbury Academic, 2014
Wands, Bruce. The Art of the Digital Age. London, Thames & Hudson, 2006
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