A Philosophy of Computer Art by Dominic McIver Lopes

By Dominic McIver Lopes

What is desktop paintings? Do the ideas we frequently hire to discuss paintings, resembling ‘meaning’, ‘form’ or ‘expression’ observe to computing device paintings?  

A Philosophy of machine Art is the 1st e-book to discover those questions. Dominic Lopes argues that desktop artwork demanding situations a few of the easy tenets of conventional methods of wondering and making artwork and that to appreciate computing device artwork we have to position specific emphasis on phrases akin to ‘interactivity’ and ‘user’.

Drawing on a wealth of examples he additionally explains how the jobs of the pc artist and desktop artwork consumer distinguishes them from makers and spectators of conventional artwork kinds and argues that machine artwork permits us to appreciate larger the function of know-how as an paintings medium.

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New media art works don’t challenge 33 34 A philosophy of computer art the mind the way traditional works do. Given their seductive slickness and commercial ties, they manipulate us as consumers. These popular worries aren’t expressed in precisely the same form as the arguments from the creativity sink, mind numbing, and mind control. Still, by addressing these arguments, we indirectly address popular worries and answer the value question. That’s the task of chapters 6 and 7. The specialization question, the art question, and the value question come as a package.

So CAF begins to frame an answer to the specialization question: computerbased interactivity is the special feature that distinguishes computer art from digital art and indeed all the other arts. But it’s only the beginning of an answer. The five works described above are interactive in some interesting sense, but we must pin down exactly how they’re interactive. ” But is it art? The first clause of CAF boldly assumes that some interactive, computerbased works are works of art, and this raises the treacherous question: what is art?

Whereas art of all kinds invites active appreciation, only some art is interactive. The Ambassadors’s appearance is static and yet I experience it differently from you, you experience it differently now than you did in the past, and we experience it differently from a seventeenth-century Englishman. The reason isn’t that the work’s display changes, but rather that we actively appreciate it in different ways. Some traditional works have changing displays – Alexander Calder’s mobiles turn in the wind.

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