Background to the study: Clarifying the state of hybridity Exhale is a practice-led research project that utilises painting as its core but also enfolds within it a constellation of practices which employ digital transcription and hybridisation as strategies to transform media. Hybridity references the intermedial space of overlap and collaboration which comes into existence at the convergence of disparate mediums. This project manifests itself at the intersection of historic 2D media (painting, weaving and photography) and electronic interfaces (computer imaging and generation, digital video, static and moving digital projection). The ongoing interconnection between these material and virtual fields produces interblended media forms which exhibit hybridity and heterogeneous diversity. The state of hybridity is characterised by its mixed heritage, its differential condition, and location outside of established categories. Hybridity is an additive process, not a subtractive one. The process of hybridisation denotes a position of crossing over, variation and media exchange in the formation of new features. Hybridity has been described in the following terms. Hybridity inhabits the territory of the foreign (Papastergiadis, 2000:168) and “estranged” (Green in Bhabha, 1994). Hybridity is a condition of emergent identity, a site of collaborative action and transformation, and a space of surplus and differentiation (Bhabha, 1994). Hybridity is the state of representation identified by the terms of “otherness”, “beyond” (Bhabha, 1994), “inclusionary” (Meredith, 1998:5) and the “in-between” (Bhabha in Bennett, 1998:37-47). It represents a liminal location of disjunction, discordance, dislocation, and transformation. Hybridity operate... ... middle of paper ... ...rupturing of the work through slicing, perforation and weaving. My art production is an evolving continuum of creative genesis. The ongoing production process highlights the revision of work and its emergent hybrid properties. I understand my practice as a body of work from which redefined formal, spatio-temporal relationships emerge with each transformation. The total art work manifests as a continually restructured arrangement of multiple and merged visual regimes within an autonomous but evolving body of production. In my visual practice I use the terms “art work” and “project” interchangeably. The production output exists as a site of infinite potential for the actualisation of myriad hybrid presences. Deleuze indicates that actualisation is the state of convergence by which the material form is expressed by its “incarnation in a body”. (Deleuze, 2004: 127).
...tion, we can try new forms of creating art, while questioning and expanding the very nature of collaboration itself.
ABSTRACT: British Avant-Garde art, poses a challenge to traditional aesthetic analysis. This paper will argue that such art is best understood in terms of Wittgenstein¡¦s concept of "seeing-as," and will point out that the artists often use this concept in describing their work. This is significant in that if we are to understand art in terms of cultural practice, then we must actually look at the practice. We will discuss initiatives such as the work of Damien Hirst, most famous for his animals in formaldehyde series, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of stops on London Underground maps with those of philosophers. Cornelia Parker¡¦s idea that visual appeal is not the most important thing, but rather that the questions that are set up in an attempt to create an "almost invisible" art are what are central, will also be discussed. Also, if we concur with Danto¡¦s claims that "contemporary art no longer allows itself to be represented by master narratives," that Nothing is ruled out.", then it is indeed fruitful to understand art in terms of seeing-as. For application of this concept to art explains what occurs conceptually when the viewer shifts from identifying a work, as an art object, and then as not an art object, and explains why nothing is ruled out.
Wagner, Richard. “Outlines of the Artwork of the Future,” in Multimedia from Wagner to Virtual Reality, eds. R. Packer and K. Jordan. W.W. Norton, 2001.
Through this essay I have identified the serious difficulties following from the introduction of the readymades. The position and part of the artist as a creator of art works deviates in numerous ways; the Fine Arts are no longer necessarily the arts of genius, the common question ‘what is art? Is now being substituted for ‘when is art?’, and it presents the problem of replication; redefining the discrepancy amid original and copy. The readymade shifts the identification of art from the conditions (and authorship) of its creation to the conditions (and authorship) of its designation and display, empowering its selection as much as implementation to befit as an effective sign of artistic status.
This act of creativity involves effort, toil, inspiration, failure, and is accompanied by the scorn and criticism of others who do not understand, as Arthur Koestler puts, the bisociative connection the artist makes in his inspirati...
Bhabha, Homi K. "Cultures-in Between." Questions of Cultural Identity. Ed. Stuart Hall and Paul Du Gay. London: Sage Publication, 1996. 53-60.
In Chapter Ten the author expands upon how the conventions of the teachings of the academies transcribed into much more than that. This chapter tries to reveal the process or experimentation into the discoveries of expression that has helped transcend art through its fruition. There was now a movement that garnered further than that of Rembrandt, and John Constable, allowing budding artists to derive their perspective of expression away from nature. The development of “artificial perspective” creates a vast palette for the artist traditionally trained or more importantly those non-familiars with the traditional methods. Once we as the beholders of art or the historians look past Berkeley’s theory of vision and thus look past the fixation with space in perspective, we may allow ourselves the opportunity to examine the relevance of light and texture, even the physiognomic expression. The author recalls the Chinese formula; “Ideas present, brush may be spared performance.” (pg331) This is evident in the ideal, the less there is in the complexity or ambiguousness to confuse our visual recognition the greater the reception by the beholder.
...wild beast, a tiger or some such, with whom I am trapped in a small room. There are many factors which may influence the tiger in one way or another, and while these factors, such as my experience of tigers (traditionalism), or clever new ways to influence them (innovation), are of deadly importance, the tiger remains the primary focus, or reality, in the room. Often, however, we confuse the factors for the art itself, the means for the ends, the cause for the effect. We talk of our difficulty about defining art in empirical terms, as if it were an elusive fog of wraiths, a "veil of unknowing", or an ethereal mist of fleeting experiences: we are unable to ever really grasp the identity of what we seek to define. Maybe this is true, but every now and again I am sure I see something strangely beautiful, terrifyingly real, gracefully elusive, gliding through the vapours.
Benjamin argues that the original meaning of art is no longer the same. Due to technological innovations, the original meaning of images is skewed, and “in the age of pictorial reproduction the meaning of paintings is no longer attached to them; their meanings becomes transmittable…When a painting is put to use its meaning is either modified or totally changed” (Benjamin 24). Art evolves with time and technology, causing a shift in value and function. This evolution of art reinforces the reciprocal relationship between art and society and, furthermore, art’s ability to modify the way in which we view the
Whether it be writers, painters, sculptors, musicians, or photographers, artists all over the world have striven to show people their views of the world, of people, and even of the universe itself. Throughout history the creative urge of man to present to fellow men a different perspective or representation of life-or even the afterlife-has surfaced time and time again in the form of artwork. Sometimes it comes through genius and complexity, full of meaning and symbolism. Others, it is simple and void of any clear meaning at all other than that it is art. Soon, however, there became a point when the work of art was no longer something one could just look at and understand; the principle of the matter had changed. Art leapt from viewable understanding straight into the Modern movement where theory became art, and to understand it, one must know the theory it is based upon. Never was this more apparent than in the artwork of the abstract expressionist. Essentially, artwork is not art because of theory, and art based on theory cannot be creative or truly said to be art.
While I embrace digital photography in my work, I continue to use film-based photography and processes, alongside digital technology. I view my use of digital software, particularly in the construction of the photographic collages, as an continuation and expansion of film photography and darkroom techniques, such as the use of in-camera or darkroom processes to construct
... over time – and the viewer’s personal experience, essentially her history. This gets very near to a common sense perspective – what we look at, and what we think about what we see has much to do with who we are and what we have experienced in life. Thus, art may be described as an interaction between the viewer, influenced by her experiences, with the work of art, inclusive of its history and the stories built up around it over time. When we look at art, we must acknowledge that the image is temporally stretched – there is more to it than meets the eye at present. What we learn from Didi-Huberman’s approach is to give this temporal ‘tension’ its due. Didi-Huberman describes and defends the importance of of how we look at artistic works: images that represent something determinate, while always remaining open to the presentation of something new and different.
Virtual art is the product of long-standing traditions in art merged with revolutionary technological advances. With innovations emerging almost as fast as end-users can test and master new systems, technology has dramatically altered our daily lives and changed our thought processes. Like many technological advances, virtual and cyber realities have been embraced, and often created by, artists that experiment with the myriad of possibilities that technology can offer. While there have been many works of art inspired and created by means of digital advances, the medium has yet to be defined and its boundaries have not yet been identified. Since technology and virtual art are just beginning to be explored, the medium is in its infancy and thus cannot be judged based upon traditional mores of art. Before virtual art can achieve prominence and respect within the art world, many barriers of tradition must first be abolished.
Hybrid can be defined as "mixed ancestry" As a word; "hybrid" carries denotations of the physical as well as the metaphysical. In Down second Avenue, Mphahlele examines both a hybrid society, that being South Africa 1930- 50 as well as its composite sub-societies, extensively hybrid within themselves. Mphahlele's awareness of having a mixed ancestry is rooted in more than one dichotomy. His rural identity is opposed to his urban identity, his vocation as a teacher/academic is opposed to his employment as a messenger boy, his introspective nature opposed to his being member of a gang. His acute understanding of South African society is ironic in his feeling liberated in departing from it. It is in hybridity that Mphahlele's identity resides.
The technological aspect of digital art often leads to questioning of whether or not it can be considered art. Digital art has been accepted and embraced by the commercial and entertainment industries for many years, but is finding it much harder to become part of the fine arts community. Digital art has many hurdles to overcome before it will be fully accepted by the mainstream tradit...