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- Volume 3, Issue 1, 2013
Metaverse Creativity (new title: Virtual Creativity) - Volume 3, Issue 1-2, 2013
Volume 3, Issue 1-2, 2013
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The New Romantics: Flaneurs and dandies of the twenty-first century
Authors: Claudia Hart and Nicholas O’BrienAbstractThrough looking at the different ways in which alternative art practices emerged throughout the later half of the twentieth century, this article articulates how the combination of professionalized graduate education and market politics of the 1980s shaped a current generation of artists. This generation – which in actuality spans a wide range of ages, disciplines and backgrounds – creates artworks inflected with a kind of skepticism to contemporary digital technology and a criticality against the status quo akin to nineteenth-century romanticism. This article primarily examines the ways in which the Flaneur as a transgressive figure continues to influence contemporary art made within digital contexts.
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Darling sweetheart: Queer objects in early computer art
More LessAbstractReaching back to the very origins of modern computing, this article seeks to identify one of the earliest examples of expressive computational art ever produced in the queer work of the computer scientist Christopher Strachey. Strachey was a colleague of computer pioneer Alan Turing, and the author of several playful early programs for computer music, computer games, and computer fiction. In examining his work through the lens of computer art and sexuality, this article argues for the role of playful misuse, mischievous disruption, and the unexpected in the production of new forms of expressive computational art that we might describe as a new romanticism.
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The Real-Fake
Authors: Rachel Clarke and Claudia HartAbstractThis text was written to accompany ‘The Real-Fake’, a touring exhibition curated in 2011 by Rachel Clarke and Claudia Hart. The show is a precursor to The New Romantics. Its purpose was to position 3D computer graphics in the discursive context of contemporary art. The artists in the exhibit all use 3D software to create a range of art forms, from the still image to animation, interactive works and installation. All of them self-consciously place 3D within an avant-garde lexicon. Like their predecessors, video artists who adapted TV technologies for artistic use, these artists adopt the technology employed in 3D shooter games and feature-length Hollywood animation blockbusters, but reject entertainment industry aesthetics and content, instead applying the medium to the trajectory of art history. ‘The Real-Fake’ proposed the potential of 3D computer art as the post-photographic medium currently emerging from the new technologies and Zeitgeist of the early twenty-first century.
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Editorial
Authors: Elif Ayiter and Yacov Sharir
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