Forward
The third Computer Art Congress (CAC.3) is dedicated to PostDigital Art. It is a making in many senses and invites artists, intellectuals, scientists and technologists to share their imaginations, creations, inventions and visions of the post digital art. CAC.3 observes that the world has never appropriated any technology in the same manner than the digital. This technology has penetrated and dominated almost all facets of our everyday life. It has had, obviously, important impacts on our culture, economy, society, . . .and cognition.
We believe that our ways of perception, interpretation and reasoning have not been same before and after having dealt with the digital world. Whats more digital technology has become more than part of our life, it has nearly become transparent. Nicholas Negroponte declared the digital revolution over in 19981: "like air and drinking water," digital would be noticed only by its absence, not its presence. Simon Jenkins recalled this point2 "Don't tell me you are still putting e- and i- in front of your product or talking 'platforms', like some naughtiest nerd. That is so yesterday", and he persisted that "Post-digital is not anti-digital. It extends digital into the beyond. The web becomes not a destination in itself but a route map to somewhere real".
The term Post Digital has recently come into use in the discourse of digital artistic practice3. The term aims to call attention to "an attitude that is more concerned with being human, than with being digital"3. Roy Ascott considers distinction between digital and "postdigital" is part of the economy of reality3. For Mel Alexenberg4, postdigital as adjective, addresses the "humanization of digital technologies". About PostDigital Art, Adam Tinworth5 points out tow important facts :
- "Theres a rule of thumb in the real estate business that if you want to know which part of a city is going to go up-market next, look at where the artists go to work."
- "Everything we do is influenced by digital technology. Just as air and water, the property of being digital is only noticed when it is not there, not when it is there."
For all those reasons, and in order to preserve the artistic (and humanistic) part of the computer art, the advisory board of CAC retained, during the last congress in Mexico (in 2008), the Post Digital Art as the main topic for CAC.3. In that sense, CAC.3 considers PostDigital Art as an open creative way to draw out the
evolving of our relation to information and communication technology as a dominant in the globalization paradigm we are living.
PostDigital Art experience has to be considered as intellectual therapy that challenge actors of the society to rethink their innovation approaches and the way they perceive the world, to explore new dimensions of our space, to go forward, to trace their own path, to be followed CAC.3 count on the abilities of artists to explore digital and extra digital spaces in order to anticipate new technological issues that can influence our post digital world.
__________
1 Teressa Iezzi & Ann-Christine Diaz,May/24/2010, "Are we Post-Digital Yet?", http://creativity-online.com/news/are-we-postdigital-yet/144055
2 Simon Jenkins, Dec/1/2011, The Guardian, http://www.guardian.co.uk/commentisfree/2011/dec/01/post-digital-world-web
3 Wikipedia contributors, "Postdigital"Wikipedia, The Free Encyclopedia (accessed October/27/2012), https://en.wikipedia.org/w/index.php?title=Postdigital&oldid=483815596
4 Mel Alexenberg, 2011, The Future of Art in Postdigital Age, Intellect Books
5 Adam Tinworth, Jan/2012, "Can a new culture grow from Post Digital art?", http://nextberlin.eu/2012/01/can-an-new-culture-grow-from-post-digital-art/
Khaldoun Zreik, Robin Gareus
|
Table of Contents
The search for emergence in NewMedia Art practices
Pau Alsina
Brief Reflection on the Anonymity
Marcos Salazar Delfino
Future Potentials for ASCII art
A. BillMiller, Anders Carlsson
Hyper-Production and the Value of Exquisite Corps on theWeb
Blanka Earhart
21st Century Brazilian Computer (Experimental) Art
Tania Fraga, Malu Fragoso
The Post Digital Art is made of Paper, Cardboard and ABS
Filipe Pais
On the separation between the esthetic and the functional - And how the digital realm will steal form
Aurélien Michon, Cedric Flazinski, Clément Chalubert
From Paper to Portable Devices: How to script and read comics
Jérémy Raulet, Catherine Sauvaget, Vincent Boyer
DesigningNaturalUser Interfaces withDepth Sensing Technologies like the Kinect Sensor - A Tracking Framework for Artists and Designers
Michaela Honauer, Jens Geelhaar
New technologies and non technical students: making contact with creative digital writing
Gaétan Darquié
Disrupting 3D models
Everardo Reyes
Digital Preservation of JuMing Stone Sculpture in Taiwan
Naai-Jung Shih
U-rss and the dark side of the moon
Marc Veyrat, Franck Soudan
Connected creation: The Art of Sharing
Florent Di Bartolo
Cinema Beings
Alain Lioret
Facebook Chronicles
Regina Freyman
Architectural Ornamentation and Fabrication withMulti Agent System
Subhajit Das, Florina Dutt
Autonomous social Avatars (AsA)
Juan Pablo Bertuzzi, Safwan Chendeb, Khaldoun Zreik
Digital Environment to Envision and Experience the Art of Light and Space
Cheng-Hsiu Chuang, Nan-Ching Tai
Art image classification using Bag-of-Visualterms representation
Ferran Reverter, Pilar Rosado,Miquel Angel Planas, Eva Figueras
Post Anxiety Art: Economies and cultures of digital painting
Jo Briggs,Mark Blythe |
