become great is to forget how she had children.
strange loss of memory and thought that we were small we take for granted the information that "the great society" gives us children.
Children are too young to understand, to think, to act.
This says the major.
I was queuing at the cash register in front of me a family: mother, father, two children in a stroller for two and a cart full of products.
Dad looked after the children while the mother wound up spending the cash on the conveyor belt. Gradually, the line flowed and mother she came to bagging groceries, while dad proceeded with the stroller.
Suddenly his mother realized he had forgotten something and her father has moved away from the stroller to pick up the missing product.
In-tandem stroller, placed behind the child was sleeping peacefully, while the front, which has had two years, observing the world around him. Almost immediately, he realized to be one of the conveyor belt and the shelf full of sweets, chocolates and candies typically located next to the speakers.
He noted his mother, was diverted to fill the bags, it was watching him, the father had already freed the mother, sending him on an errand, her brother was sleeping, not there were potential spies ... now or never!
Quickly he put his hand on a tablet Galak, who was right there on his right, almost begs him to be harvested. With greater difficulty, he leaned over the stroller and dropped the Galak the goods purchased by Mom, just as the conveyor belt was taking them away from him.
He looked around ... no one had noticed anything, neither the cashier nor the father had just returned. He watched her go Galak examining the cashier to finish among the mom's hands and down into the bag.
was clear that he was already devising a way to pull it out of the bag without anyone noticing ...
Who knows if it becomes large than ever remember as a child was awake!
The digital arts use mass media as tools are not yet mass phenomena. They find their greater representation and celebration of festivals and exhibitions. Use new languages \u200b\u200bof communication and expression. The 'digital art appropriates, defines and shows the changes of real crosswise, using the old and new media, but at the same time remain detached from the big media systems, almost elitist. Perhaps necessarily incomprehensible?
been more than four decades from the beginnings of digital art, from those new ways of thinking and create a work of art using new tools and technologies. The electronic art, reworking the data and the expressive and communicative potential of new media has changed the meaning and concept of art work, making the process of deconstruction of traditional categories of painting and sculpture (art space), literature and poetry (the arts of the time) began with the avant-gardes.
Electronic Arts, video art, art-tv video installation, video performance , satellite art, interactive art , web and net art, computer animation / film / vfx, interactive, digital musics & sound art, hybrid arts: artistic expressions are all focused on the use of technology, eliminating the traditional to the creative processes of the brain. They are the fruit of an intimate interaction between artist and machine. Work are added suggestions of music, words, sounds, movement, the passage of time the contract or accelerated, new perceptions, performance and size of event.
Nel1965 Sony launched the Porta Pack, the first amateur camera handset, which gives the incipit two practices use of video: the documented information amateur, independent, and that of artistic experimentation, thus sanctioning the birth of video art . The first experiments, however, date back to 1952 with the "Manifesto of the movement space for television " by Lucio Fontana and, subsequently, with the first of decoupage and décollage Vostel Wolf (1958-1959) when entering and screens TV shows in the works of art. It is with the Korean Nam June Paik that lay the foundations of art electronics, where, since 1965, began working with the creative support of the portable camera, and since 1963 creates flows of shapes and sounds inside the TV screen. Fundamental group of the experiments were Fluxus, which was part of Nam June Paik, searches and Woody Steina Vasulka , registrations Gerry Schum, installations of Bruce Nauman . As well as the next generation of pioneers, moving from the interactions mediated by technology Studio Azzurro the work of Robert Cahen , Tony Oursler, Matthew Barney and Bill Viola .
The electronic art becomes a way of seeing, rather than to represent: it operates as a metaphor for relationships and desires, investigation and interpretation, transfiguration. The artist manipulates the appearance
dell'être, introducing new meanings and long relationships [ypsilon reports, jovenal] thanks to electronic technology, the carrier number. Art, technology, interaction and participation of the observer.
is precisely the participation of the observer who creates the most interactions, almost intimate: participation emotional, mental and physical, to encompass part of the work with, a trigger, bait, functional and interactive.
What are the new frontiers of electronic ars? Particularly in the international scene, the events dedicated to the intersection of electronic arts, visual arts, music and performance are numerous.
Especially the festival, which represent the most common way to present the electronic arts are the vehicle to predict the public and professionals, have put the technology to celebrarla.Forse the principal is the 'Ars Electronica Festival Liz Now in its 30th edition, one of the largest and most important international event dedicated to digital art. Together from all over the world artists, curators and intellectuals, recently inaugurated the new Ars Electronica Center , a 3-story museum dedicated to technology. A level International, then, the Performa 09 Biennial and Conflux Festival in New York, the Freewaves Festival of Experimental Media Art Los Angeles 's Annual Subtle Technologies Festival, University of Toronto ;' s Electronic Language International Festival of Sao Paulo; the Festival Internacional de Video / Arte / Electrónica (VAE) in Peru 's International Symposium on Electronic Art in Singapore, in Japan, the biennial festival of art Interactive IAMAS and Japan Media Arts Festival Tokyo.A level of Italian to remember the MUV festival, music and digital arts in Florence, SHARE FESTIVAL Experiences in digital art & culture Netmag of Turin and the International Live-Media Festival of Bologna.
However, at electronic arts are a phenomenon that does not involve the mass.
use the tools without being a mass phenomenon and phenomenology that produce is not perceived in the upper layer of the city, on the surface.
not find a space like and do not even have the same success of the film and television, perhaps because of incompatibility.
technology is soaked television, cinema, radio, advertising and many digital artists are often asked to produce for the old media will bring their own value, but paradoxically does not benefit most.
Digital art is still a phenomenon still too elitist.
has changed the role of the artist in an era iperfigurativa.
hybrid position they see him with his work and his research on the complexity of this, as opposed to the practice simplistic and demagogic, almost voyeuristic of general thought.
market rules and the audience then collide with the search cross-media art. Become
should therefore encourage, by all means, the spread of languages \u200b\u200bassociated with Electronic Arts to open gates of the report and comparison between artist and audience, and determine interventions in people with people.
The place that belongs to the community becomes the arena of this direct comparison, the average becomes the only device to activate the machine reports, but the people are the real node connectors, and the artist, a sort of community artist, working closely with the community taking back its active role in society.
(Guido Faggion)
The death of art has been discussed for centuries and still continues to do so. A cyclic path that leads to almost continuous sentences, or recitations of the death of art, first by philosophers, and finally the artists themselves, finally passing through the critics.
Art today has taken on new meanings and varied, and often incomprehensible at first glance but the result of an evolution that led her to reflect the split subversive critic of order everyday, the usual and established.
Among the first passage of the declamatory, Plato, with his famous condemnation of painting and poetry: Plato not merely imitative art criticism (painting and sculpture), but even condemned the poetry and the tragedy for their psychological function, capable of arousing emotions.
Some philosophers have condemned the artistic intuition as too weak and insufficient in the face to form a more complete understanding of what philosophy. Hegel, for example, speaks of a future "death of art" in his thesis on the absolute and the projection of thumb, where the philosophy becomes the only one that can grasp the most advanced and absolute knowledge.
The ruling changed hands at the beginning of the twentieth century. The Dada, one of the first artistic movement itself, becomes a carrier of enzymes nihilistic and destructive to the art movement designed to Cabaret Voltaire in Zurich trying to fight art with art itself, or with an 'anti-art representation which is the opposite, rejection of traditional culture and aesthetics.
Today the endogenous origin of the death sentence is pronounced by the critic. He charge the art of death because it is part, in a systematic way, so it is able to modify it and conditioned to your liking. The art is weak and is a vehicle, it is said, for the critic Celant , the father of 'Arte Povera , even the art today is only meant to reassure, becoming a "vehicle anti-anxiety."
Notice genetic mutations in the branched system, which would lead to a loss of virulence critical power and subversion of the complaint, to obedience to the customs, although they give signs of disturbance and disorder. We can say that today art has become condescending? In late? A vehicle of the exotic, promotion? Without its predictive role, it remains an instrument of the magnificence of the new generations of powerful? It is a sign of the new frontier of cultural colonialism in Russia, China, UAE, to celebrate a new power? It is systematic, losing all prophetic function and breakage?
The artist works together with experts of the interpretation of his own work, then paints, carves, cuts, assembles only the present? The artist has undergone over the centuries a metamorphosis, evolving, which transformed it from a master of the court, fought over and pampered, individualistic seconded to intimate and personal. The bohemian artist and visionary without any dependence on the power to free themselves from bondage and make the most of his art. This pattern becomes progressively more free.
with the latest trends, the focus of art and artist unhinges: artistic ego is the highest peak, and then become important action, gesture, and the genesis of the conception of the work to the detriment of meticulous technique, of 'aesthetic formalized correctness.
She points to a success story Picasso in his studio one day to meet him when he was a keen admirer of the artist who wanted his work to include in the collection. Picasso takes a sheet and a piece of charcoal, is a design and delivery to the collector who, disappointed with the speed of implementation and little technical, began to challenge the high price demanded by Picasso for the work very simple. Picasso's response was that that work was the result of years of experience.
The great artists of the last century, including Duchamp, Fountain , Dubuffet, Burri, Spoerri, until at the present Maurizio Cattelan testify that the overview can not be done, the death and claim for art, but by mistake (whose?) in mere appearance.
Who? Who then, can not read the rigid rules, criteria punctiform, scattered but systematic connections of the new artistic Genome currently observed?
Art is the end.
The philosopher Hans-Georg Gadamer reveals that it is never, as ever more of the same type of art, and yet today, perhaps the art is more art than it has ever been, a real spark shot from transcendence .
expected a fire and you are not the spark, eternal. The fire, the scene, the grandeur, the size, the breaking of the shouting and is currently the territory of other substitutes, formerly rating: curators and gallery owners and public scream makeup artist himself.
Perhaps the real problem of art today showed Glenn O'Brien responding a letter on the "fabulous Seventies", a magazine by chance and vanity fair, where Glenn asserts that "our society has taken a big turn for the worse." It is no longer a problem to understand whether or not a work of great patrons or patrons, critics and dealers, investors and collectors, art movements, or stylistic changes. The problem is age, in the domain of waste and supervolumi of carelessness and superficiality, oblivious to the real value , or worse, leave the real thing on the premises of the inner memory - whether and where there is - and not pronounce it is announced. The same artists
are not paid and are naked and raw meal of academics, collectors, brokers, critics, curators, visitors, fans, and countless other seconds that they decide to go outside the ring of truth fighting box [cf. AB Oliva ]. Artists oppressed, are suppressed.
right, according to the thesis that claimed Enrico Baj in an article in 1992 (the artist's death, and survival of the critic, "Micromega 5 / 92), where he says that artists are asked only about marginal issues, them, real creators of the system, space, speech and expression.
"Mors mea your life, here's what's new, the eternal adage of new "death of art."
(Guido Faggion) [feat. jovenal ]
