Доработка по теме: Подтверждение использованных источников под цитатами (стр.из книги, сайт и тд)

R adical transformation of traditional artist’s activitiesTraditional activities such as painting and sculpture have been radically transformed by digital techniques and media, while entirely new forms, such as net art, digital installation, and virtual reality, have emerged as recognized artistic practices, collected by museums, institutions, and individuals the world over. A s Bruce Wands confirms all the diverse forms are featured here: digital prints, sculpture, and interactive installations; DVD and CD-ROMs; digital animation and video; Web sites and software art; new media performance and music (Wands, 2006 p. 71).

N ever before has there been so much talk about civilisation and culture as today, when it is life itself that is disappearing. A nd there is a strange parallel between the general collapse of life, which underlies every specific symptom of demoralisation, and this obsession with a culture which is designed to domineer over life. With the Industrial Revolution, there began a change in the whole definition of art — slowly, often unconsciously, it changed from a celebration of society and its ideologies to a project of total subversion. F rom being the focus and guarantee of myth, «great» art became an explosion at the centre of the mythic constellation. O ut of mythic time and space it produced a radical historical consciousness which released and reassembled the real contradictions of bourgeois «civilisation.» The project of art— became the trans-valuation of all values and the destruction of all that prevents it.

B ut a change in the definition of art demanded a change in its forms and the 19th century was marked by an accelerating and desperate attempt at improvising new forms of artistic attack. I n the end, for all its furyrevolutionary art was caught in contradictions. I t could not or would not break free of the forms of bourgeois culture as a whole. I.

ts content and method could become transformations of the world but, while art remained imprisoned within the social spectacle, its transformations remained imaginary. Rather than enter into direct social conflict with the reality it criticized, it transferred the whole problem into an abstract and inoffensive sphere where it functioned objectively as a force consolidating all it wanted to destroy. R evolt against reality became the evasion of reality. At the era of digital transformations, almost all varieties of traditional art activities significantly changed creating new forms and images that are unconstrained by traditional design methods. T his unconventional approach allowsto express ideas fluidly—from idea to actual implementation. E xamples2.1 LAB 212, Starfield, Empreintes, Envol, Variations, Enthusiatic overlay, Appeld’AirLab212 is an interdisciplinary art collective, founded in 2008 by a group of friends in Paris presented their artworks in the Museum of Digital Arts located in Zurich.

B y their sensible, poetic and tangible approach, they try to empower people and cast a different light on the technology surrounding our daily life. Lab212‘s multi-layered installations are portals through which visitors embark on unique journeys through space and time. H ere’re the following works: StarfieldStarfield involves a swing, the projection of a starfield in front of it and a Microsoft Kinect. A s the visitor rides the swing, the 3D camera tracks the angles of the ropes and from there estimates the visitor’s eye position in three-dimensional space. EmpreintesEmpreintes, by BéatriceLartigue and Sébastien Courvoisier, takes snapshots of our movements and questions their remnants. I.

s it possible to make our gestures tangible? H ow can an imprint of a gesture exist? T hrough the tracking of their hands in motion, visitors create shapes in space.

T hese traces evolve and alter with the passage of time. P laying with the space between intimate space and collective space, the installation invites visitors to pass through matter, reflect themselves in it and transform it. EnvolMusic as an invitation to a journey. Envol — by BéatriceLartigue, Sébastien Courvoisier and Louis Warynski — invites the visitor to embody a bird and fly above a boundless dreamscape. S.

pace is shaped along the way, a musical topography emerges. VariationsVariations by Juliette Champain offers a space to contemplate movement and shapes. A lmost identical geometrical forms hang on the wall. T.

heir inclination vary, depending on their mass and point of suspension, creating both disarray and order. R otating motors make the elements slowly evolve under the visitors' eyes, like a group of ballet dancers. Enthusiatic OverlayEnthusiastic Overlay is an interactive installation by Cyril Diagne where the visitor gets to discover the secret lives of ordinary objects. B y manipulating and holding them in front of a camera, tennis balls come to life as enthusiastic little creatures. A.

joyful and lighthearted moment of glee and humour is shared during the time of the interaction. Appeld'AirAppeld'Air is an installation by Tobias Muthesius and Pierre Thirion that gives the audience the chance to interact with the wind. A ppeld’Air is an installation providing its audience the opportunity to interact with wind. B y blowing on a tiny paper windmill, users triggers an industrial fan. The wind’sresponse is proportional in both duration and intensity to the input received from the person who started the conversation.

2.2 Die zweiteNatur, Artistic reflections on nature in the digital age, Regionale, Basel, Interview with the Sabine HimmelsbachSabine Himmelsbach, the artistic director of the House of Electronic Arts Basel (HeK). H eK is the Swiss competence centre for art forms which address and reflect upon new media and technologies. I t was opened in May 2011 as a merger and successor of two festivals: Art & New Media and Shift — Electronic Arts Festival. H.

eK is dedicated to digital culture and the new art forms of the information age. I t is a place for creative and critical discourse on the aesthetic, socio-political and economic impact of media technologies. I ts primary focus is to presenting experimental media artists but also to start collecting new media art works, not present in the traditional museum’s collections. HeK shows contemporary art that explores and configures new technologies; it promotes an aesthetic practice that uses information technology as a medium, makes it vividly accessible and actively intervenes in its processes. I t thereby addresses the pressing issues of twenty-first-century culture and makes an active contribution to their future evolution. HeK and 18 other regional institutions show contemporary art from the transactional region as part of the annual Regionale exhibition titled as «Artistic reflections on nature in the digital age».The annual «Regionale» exhibition brings together works that deal with our surrounding environment. T.

hey reflect natural phenomena using digital and electronic technology, and bring the sensory properties of these phenomena into the exhibition space. V isitors can plunge into forests, clouds and fields of stars: into a «second nature» that the artists themselves have created. O ur impression of the world, our perception of nature, is shaped by the digital character of our age. T he artists show us how the natural world can be represented and reconstructed almost seamlessly using technology, and they appeal to both our humour and our senses. I was also surprised to see how marginalized media arts still are in the context of contemporary art. I.

think the most important task is to really break this up and create an institution that is really one of the place that are recognized in the contemporary art field in Basel. During the interview with Sabine Himmelsbachshe spoke about the main activities of the art centre and her curatorial plans for the future. Through hermessageit was very clear to understandthat a modern art with digital signature has been perfectly selected for an institution that is dedicated to the presentation and mediation of new media art and is therefore open for new distribution contexts and formats. N ew media artists use all kinds of communication channels — radio, television, the Internet are platforms for their artistic interventions and aesthetic practice. «O ur exhibitions not only take place in the actual exhibition space, but also on the regional television channel «Oldenburg 1″ on which we present current video art once a month, on the Internet (for example the exhibition «My Own Private Reality) or on the radio."The worldwide digital networks and communities have generated a lot of social potential and a creative use of new media technologies. O f course they also contributed to the ever growing mass of information that needs to be filtered daily and the need to get away from being constantly on. 2.3"Who we are».

— H erbert Maier, Museum fur NeueKunst, Freiburg imBreisgauHerbert Maier’s adorableidea depicts a successful achieve at global thinking: it holds up witness to the availability of images, the sluggishness of classical painting as well as his emotion for travel and collections. T he images with which Herbert Maier returns from all over the world are reflections that people have created of themselves and of others; they represent human culture in all its edges, in its beauty and in its bottomless dimensions. F aces, portraits, heads and masks — hardly any other fragment is shown more frequently in the history of art and culture; behind every representation of a human being there is the hope of showing the quintessence of humanity, however stylized or individualistic and naturalistic it can be. F or many years, Herbert Maier travelled to different places and regions of the world like Pakistan, India, Nepal, Mexico, Guatemala, the USA, Israel, Iran and West Africa.

H is visual library is closely linked with these trips. E ncounters with other people and the inclusion of their artistic and cultural arguments his personal imaginary image memory became just as important to him as the examination of Western art. S ince 2009, Herbert Maier has been working on this encyclopaedia, which currently contains over 500 watercolours.

W atercolour painting, described by transparency and lightness, is the only means that let the creation of such a big number of images within a short time. Herbert Maier’s encyclopaedic project is certainly highly charged against the backdrop of a fundamental shift in meaning of the image in the digital age. M aier counters the veritable flood of images from Instagram, Snapchat with artisanal precision, slowness and conceptual painterly strategies. D iscussion and ConclusionAccording to my opinion, possessing hugeamount of tools and potential must be accompanied by a complete and in-depth knowledge of every detail of these tools and their capabilities, so as to let the artist to successfully express all his fantasies and creativity via the designated tool, using the fastest and shortest modes possible. In other words, artists today are presented with theentrance to creativity that is sophisticated and complex, replete with thecolossal variety of techniques, and therefore artists need to hone their skills and understand these techniques well in order to maximize the capabilities they offer. I think, in spite of the challenge, the artist must once again become master of these massive tools and techniques so that they become the execution tools by which he expresses his perception and creativity and so that the final resultreally reflects his personality.

&# 160;In conclusion, there is no problem that contemporary artists are facing increasingly more complex and complicated challenges to revealing distinctive artwork in the face of the many recent technological advances that have extended and diversified the art world. A rtists today find it more challenging than ever to show original and innovative fantasies, and they need to affect themselves and stretch their imagination to succeed. T he influences of digital technologies are social forces in the development of artistic production; hence information exchange shapes aesthetic objects fashioned under their influence, regardless of whether their final manifestations are digital.

H owever, the impact of the informational constitutes a significant force in contemporary art, one that informs an understanding of work produced in its environment. T rue, art history has no duty to represent particular interests in art and technology, nor obligation to make a place for them. Highlighting the importance of advanced technology in shaping artistic practice is not concomitant with a technologically deterministic stance that would wholly place the impetus for artistic developments squarely upon the technological. I cannot underscore enough the importance of conceptualizing and holding fast to an embodied form of technology. I t brings art and technology into relations of commonality, rather than difference. M ore importantly, it conceives of media arts ranging from video to electronics and the digital and beyond into the fold as capable of conveying affect, and capable of more than mere technological gimmickry. Moreover, the considerable growth in the state of tension that usually surrounds us has become today the powerfulenergy, has among the strongest impact, and is a fundamental motivator for artists to push themselves and inspires them to persist their creative endeavours without stopping.

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