Abstract
AbstractThe chapter traces the evolution of digital art produced in the Russian Federation and in the Russian language by critically considering a number of case studies and re-conceptualizing historical periods. It takes into account technologies, institutions, individual artists and artistic networks, and modes of presentation, appreciation and re-contextualization. It contributes to the debates about the nature and focus of art in the digital era by assessing historical, economic and creative factors. It showcases how digital art might be understood as a particular medium, platform, network, aesthetic and function, and it also argues that digital art does not fit into those categories. Instead notions of transformation, scope and duration are used to account for new forms of artistic expression.
Highlights
Digitally produced images incorporating and imitating fractal laws had the characteristics of geometrical patterns and so appeared as decorative elements
They were works of art insofar as they enquired about the laws of the physical world and their mathematical representations, making references to abstract art and its predecessors such as the Russian avant-garde
Sebastian and produced in 1993 with the help of Photoshop, she notes that “St. Sebastian is a multi-layered, poly-semantic figure which brings together images and characters from classical and contemporary art” (Strukov 2011, 123–124).6. In her 1995 interview, Tobreluts conceived of computers and digital technologies as a new medium
Summary
Computer-enabled, digital technologies have altered the ways in which art is produced, experienced and thought of. Digitally produced images incorporating and imitating fractal laws had the characteristics of geometrical patterns and so appeared as decorative elements On another, they were works of art insofar as they enquired about the laws of the physical world and their mathematical representations, making references to abstract art and its predecessors such as the Russian avant-garde. Sebastian and produced in 1993 with the help of Photoshop, she notes that “St. Sebastian is a multi-layered, poly-semantic figure which brings together images and characters from classical and contemporary art” (Strukov 2011, 123–124).6 In her 1995 interview, Tobreluts conceived of computers and digital technologies as a new medium. Their attempts to “re- structure” the image using digital technologies resulted in a new understanding of artistic originality and authorship Like their predecessors such as Marcel Duchamp, Andy Warhol and Ilya Kabakov, Russian digital artists queried art as an autonomous sphere of production. Film would be a universal language, one that does not require translation, which would unite people of the world (2007 [1934])
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