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Questions & Observations

Three General Questions:
1) Should digital art be limited to internet postings only?
2) How does one price the work of a digital art piece? How does the buyer of that particular piece preserve the longevity of that particular piece especially when the technology is continually changing?
3) How do we develop the rhetoric to evaluate forms of digital art especially when digital art is continually changing?
General Observations:
1) The role digital art can potentially play in helping a sculptor make intense and complex pieces that once-upon-a-time in a land far, far away, may have taken artisans years to make. I am referring specifically to, Michael Rees, A Life Series 002, 2002. (PP. 63)

2) I have difficult time accepting some forms of digital art as ‘art.’ Because it seems so scientific and mathematical. Even though the root of art is scientific and mathematical in nature. However, I think the formulas are more used for creating more tactical art such as painting are more organic. For example in such as: Displaced Emperors (Relation Architecture #2) (PP.74)

3) Interesting to know, the Walker Art Center, in the 1990s was the first to recognize and archive digital arts from the web. (PP.113)

Three Questions specially related to pages, 3-137
1. In Knowbotic Research’s interdisciplinary project, Dialogue with Knowbotic South (DWTKS; 1994-7), suggests that science relies on the creativity of artists to create 3D worlds, virtual reality and environments, as an attempt to create different realities of communication. Can this be done? Has it been successfully accomplished? (PP.83-87)

2. What is the difference between film and experimental film? For example: Michael Naimark’s, Be Now Here (1995) (pp. 99) is considered a dimensionalized movie whereas, a film like Solaris by Steven Soderbergh is considered a film. To bring another artist to the conversation, Toni Dove, Artificial Changelings, where his project is more of a narrative, the audience is inside the character’s head and the film tells a story. Why is his piece not considered a film and deemed experiemental? Is the name behind the piece? The intention of the artesian behind the work? (PP. 106)

3. How does one create a virtual reality piece such as Charlotte Davies, Osmose? To write a program to product and art piece based on the breath and the movement of the body as it observes the piece? (PP.126)