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Autonomia kodu w sztuce mediów. Przykład rzeźby cybernetycznej "Senster" Edwarda Ihnatowicza

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Olszewska A., Długosz M.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2019

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vol. 104

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issue 1

67-80

EN

The authors of the text argue that any relationship established between the code and analogue elements of the operating system should be recognized as a matter of aesthetic choice. According to them with free code writing, enabled by rising computational power, certain elements (procedures) of the work may become part of artistic expression as a result of the designer’s arbitrary decision. In contrast, in older installations codes had to be well-matched to ensure compatibility with the analogue components of the system because of constraints in computer performance. It was a relationship in which only these procedures could be applied which conformed to the architecture of the operating system. Consequently, the expression of such work was essentially a reflection of its structure.

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SZTUKA JAKO SPEKTAKL. ROZWAŻANIA NAD KOMUNIKATEM MEDIALNYM

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Szuba A.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2017

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vol. 23

46-69

PL

Agata Szuba Art as spectacle: thoughts on medial message The progressing process of reality virtualization does have impact on social transformation of the globalized tele-IT society, as well as on artistic practice which, therefore, has significant impact on transformations and the new way of describing culture. According to modern media theories, which are difficult not to agree with, the culture of the twenty-first century should be defined in the perspective of universality of such phenomena as globalization, cultural pluralism and nomadism, originating in permanently and irrevocably crossed borders of the communication model: from reproduction to simulation of reality, thus resulting in a structure of a surveillance society, a society of performance and virtual union. The latter aspect, namely emerging of an audio-visual culture that, determined by social interactions, is revealed mainly in a form of a performance, is a fundamental benchmark, and that results from the fact of anachronism of the metaphor of culture as a text which became an equivalent of “ideological text”. Visual culture in a tele-IT world became a culture shaped by visual media what, in consequence, reversed the permanent point of reference in the relation subject-object (thing, phenomenon, human, relations and interpersonal interaction), as experience more and more often embraces images of the world (television and the Internet), not the reality itself. It is obvious that those images of the world, as a subject of intellectual–emotional consumption, more and more often, less to say that commonly, as an assumption, are not subject to judgements based and positively characterized by the truth-false criterion. Their visual and persuasive strength, being a derivative of spectacularity and aesthetics of the presented event, depends on attractiveness of so called „produced text” which, substituting reality, becomes a new social environment – virtual reality

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Pomiędzy adaptacją a edukacją. Sztuka mediów jako wprowadzenie do technokultury

80%

Kluszczyński R. W.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2019

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vol. 105

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issue 2

12-21

EN

Next to its fundamental artistic and aesthetic properties and functions, perceived as entirely intrinsic and thus developed only through experience that it itself calls into existence, art also serves multiple social purposes. Among the latter, a set of interconnected cognitive, educational and adaptive roles seems to come to the foreground. This article discusses forms in which these functions manifest themselves along with their mutual relationships that may be observed in the field of progressive avant-garde art. It focuses on selected phenomena in the art of experimental cinema, analogue and digital synthesis, as well as contemporary artistic forms that use the techniques of augmented reality and biotechnology, producing a myriad of diversified hybrid constructs.

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2 Kultura Współczesna. Teoria. Interpretacje. Praktyka

1 DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

1 Długosz M.

1 Kluszczyński R. W.

1 Olszewska A.

1 Szuba A.

2 2019

1 2017

Autonomia kodu w sztuce mediów. Przykład rzeźby cybernetycznej "Senster" Edwarda Ihnatowicza

SZTUKA JAKO SPEKTAKL. ROZWAŻANIA NAD KOMUNIKATEM MEDIALNYM

Pomiędzy adaptacją a edukacją. Sztuka mediów jako wprowadzenie do technokultury