Visual Revolutions: from the electronic to living imagery

Authors

DOI:

https://doi.org/10.26485/AI/2020/22/1

Keywords:

image, technical image, image-revolution, image-catastrophe, image-performance, image-rendition, transgression

Abstract

I analyse five forms of images: electronic, digital, interactive, networked and living, all of which challenge traditional descriptions and expectations. I analyse them from the technical-ontological, phenomenological and cultural perspective to demonstrate different ways in which they discuss and deconstruct the notion of an image. Finally, I try to propose a new context for understanding the discussed forms of new imagery, i.e. the context of post-imagery.

Author Biography

Ryszard W. Kluszczyński, Department of New Media and Digital Culture, University of Lodz, Poland

PhD, media art scholar, writer and curator.

Professor of media and cultural studies, Chair of Department of New Media and Digi­tal Culture, University of Lodz, Poland. Professor at the Academy of Fine Arts in Lodz. He investigates the issues of new media arts and cyberculture, contemporary art theory and practices, avant-gardes, transdisciplinary cultural transformations, and recent inte­ractions between art, science, technology and politics.

Artistic Director of Art & Science Meeting Program in the Centre for Contempora­ry Art in Gdansk (2011-). Curator of numerous exhibitions within the Program. Co--curator of travelling international exhibition United States of Europe (2011-2013). Cu­rator of the Second International Biennale of Contemporary Art “Mediations”, Poznan 2010. Chief Curator of Film, Video and Multimedia Arts in the Centre for Contempo­rary Art – Ujazdowski Castle in Warsaw (1990-2001).

Some of his recent book publications: Beyond Borders: Processed Body – Expanded Brain – Distributed Agency (2019); Augmenting the World. Masaki Fujihata and Hybrid Space-Time Art (2017); Human Traits. Patrick Tresset and the Art of Creative Machines (2016); Guy Ben-Ary: Nervoplastica. Bio-robotic Art and its Cultural Contexts (2015); Ken Feingold: Figures of Speech (2014); Meat, Metal & Code / Contestable Chimeras: Stelarc (2014); Robotic Art and Culture. Bill Vorn and His Hysterical Machines (2014).

 

References

Baudrillard Jean, Simulacra and Simulations, [in:] J. Baudrillard, Selected Writings, ed. Mark Poster, Stanford University Press 1988.

Czarnecki, Jarosław (aka Elvin Flamingo), Symbiotyczność tworzenia [Symbiosity of Creation], Akademia Sztuk Pięknych, Gdańsk 2014.

Fargier, Jean-Paul, L’Ange du digital. Mallarmé a-t-il inventé la vidéo? “Cahiers du Cinéma” 1986, Numéro Spécial Où va la vidéo, Hors série.

Hinterwaldner, Inge, The Systemic Image. A New Theory of Interactive Real-Time Simulations, MIT 2017.

Hoelzl Ingrid and Rémi Marie, From Softimage to Postimage, “Leonardo” Vol. 50, Issue 1, February 2017.

Hoelzl, Ingrid and Rémi Marie, Softimage. Towards a New Theory of the Digital Image, Intellect, Bristol 2015.

Lehmann, Ulrike, Notes on the “Museumization” of Video Art, [in:] Videonale 6 Catalogue, ed. R. Altstatt, Bonn 1994

Manovich, Lev, The Language of New Media, MIT Press 2001.

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Published

2020-12-25

Issue

Vol. 22 (2020): Art Narratives – Narratives on Art

Section

Articles