Abstract
For centuries, across the worlds, artists have struggled to invent new techniques to perfect their articulation, which in turn has changed art and its relation to the viewer. In the course of art history technology has served as a useful aid to develop innovative methods for making art. For long the utilitarian notion of technology did not clash with the metaphysical or intuitive notions of art. But in modern times the reproduction technology has raised questions concerning authenticity and originality of an artwork. In the present transitory times, the digital technology is continuously redefining art and the manner in which the art/audience response circuit has undergone a paradigm shift. The present paper attempts to delineate a capsule account of the confluence between art and technology in general and discuss how Indian contemporary artists engage the art/technology interface in their art practice.
Highlights
THE FIRST ARTIST AS A TOOL-MAKER AS THE EARLIEST EVIDENCE OF ART/TECHNOLOGY INTERFACEOf all the stories, hypothesizes, speculations about the first human on earth, the one that never ceased to fascinate me as convincing is the story of the caveman as artist-hunter
This paper looks at two evolutions; art and technology, simultaneously, in order to investigate the moments of intersection, interface or confluence
In the present context of contemporary Indian art practice, the intersection of art and technology has been relatively favourable than it was in the previous years
Summary
THE FIRST ARTIST AS A TOOL-MAKER AS THE EARLIEST EVIDENCE OF ART/TECHNOLOGY INTERFACE. Though the difference lies in the fact that human species kept on perfecting her skilled identity as she moved on, whereas other species lacked this unique potential to develop their skills for transformation and innovation, and were left far behind It is here one may locate the first instance of the confluence between art and technology. It was a celebration of sorts for discovering/inventing new means of survival It could be both, seeing from the amazing repertoire of prehistoric art, one may hypothesize, that the hunter-artist was as much rejoicing in engaging the walls of his/her habitat with drawings/paintings as he may have done the same in order to overcome the fear of daily combat with wild animals. After the advent of reproduction technology, the status of art has raised questions concerning its authenticity and originality
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