The newest video game by Ubisoft, which is really art creation made into a game... The energy bird looks just like Simon Haiduk's "Inside Clover Grove" one of the top finalists in the Energy Art Salon Competition 2011, and an active member of the Energy Art Movement. An energy bird also appears in his 2007 video "Nagdeo", created at the Vancouver Film School. This kind of 3d motion-based surrealistic art improvisation was predicted in my 2007 essay "On the Future of Art".
Showing posts with label Future. Show all posts
Showing posts with label Future. Show all posts
Postscript to my Definition Attempts for Art - Part 3/3
Continued from Part 2/3: Artworks as Attractors in Practice.
As a postcript, I must mention the taboo these essays are breaking. For in fact today it is a taboo to talk about a definition of Art, because it is considered undefinable due to the currently prevailing ideas of "freedom of creation / interpretation". In other words, it is up to the viewer to decide if they consider something Art or not, worthy of their appreciation. This is a rather over-simplified and rarely-doubted view, analogous to early Humans' worship of what they could not explain.
In these essays, I am suggesting a meta-definition existing independently of viewers or creators, since I believe that Art does exist on the meta level, and it does have a genuine universal definition, which may or may not be the ones I have proposed. However I do believe in the validity of my second (current) definition, as it is closely based upon my own experiences and inner feelings while creating. A more refined definition will only be possible if we uncover the biological mechanisms of artistic imagination within the brain, or possibly beyond it.
Deep inside everyone feels that this quest for the true definition of Art is a potentially dangerous one. For if a rational/algorithmic method gets to be devised for creating an artwork, computerized machines may then be capable of envisioning, generating, and improvising genuine refined true Art, likely surpassing any Human Art. Many types of generative media already exist, including fractal art and abstract video art. However, I mean here algorithms capable of turning a piece of marble into a piece of Art, due to their ability to envision and improve a piece via their non-deterministic Taste, resulting in various Artworks from the same piece of marble. It is no surprise then that a deep fear resides in us for such an ominous possibility, which might easily surpass any visual art formerly created by a Human.
However, I believe that Homo Sapiens won its dominance due to its intellect in devising tools to extend its abilities. Machines aiding the creation of Artworks through mathematics and programming, only represent new brushes, canvases and chisels for manifesting Human visions in reality. So then what is a greater quest than devising machines capable of envisioning and creating Art in a split second?
In the future, artists must also become mathematicians and programmers, and that time is not far. As a first stage, their art may very-well become a combination of Human improvisation using computer-generated elements, resulting in a sort of performance-like "Cyber-Human Art", described in my essay On the Future of Art.
As I wrote in that essay: "I hope that today’s generation of artists will remain open to any new advancements, and will profit from these opportunities when they become available, thus allowing themselves to open doors to higher levels of creative freedom."
As a postcript, I must mention the taboo these essays are breaking. For in fact today it is a taboo to talk about a definition of Art, because it is considered undefinable due to the currently prevailing ideas of "freedom of creation / interpretation". In other words, it is up to the viewer to decide if they consider something Art or not, worthy of their appreciation. This is a rather over-simplified and rarely-doubted view, analogous to early Humans' worship of what they could not explain.
In these essays, I am suggesting a meta-definition existing independently of viewers or creators, since I believe that Art does exist on the meta level, and it does have a genuine universal definition, which may or may not be the ones I have proposed. However I do believe in the validity of my second (current) definition, as it is closely based upon my own experiences and inner feelings while creating. A more refined definition will only be possible if we uncover the biological mechanisms of artistic imagination within the brain, or possibly beyond it.
Deep inside everyone feels that this quest for the true definition of Art is a potentially dangerous one. For if a rational/algorithmic method gets to be devised for creating an artwork, computerized machines may then be capable of envisioning, generating, and improvising genuine refined true Art, likely surpassing any Human Art. Many types of generative media already exist, including fractal art and abstract video art. However, I mean here algorithms capable of turning a piece of marble into a piece of Art, due to their ability to envision and improve a piece via their non-deterministic Taste, resulting in various Artworks from the same piece of marble. It is no surprise then that a deep fear resides in us for such an ominous possibility, which might easily surpass any visual art formerly created by a Human.
However, I believe that Homo Sapiens won its dominance due to its intellect in devising tools to extend its abilities. Machines aiding the creation of Artworks through mathematics and programming, only represent new brushes, canvases and chisels for manifesting Human visions in reality. So then what is a greater quest than devising machines capable of envisioning and creating Art in a split second?
In the future, artists must also become mathematicians and programmers, and that time is not far. As a first stage, their art may very-well become a combination of Human improvisation using computer-generated elements, resulting in a sort of performance-like "Cyber-Human Art", described in my essay On the Future of Art.
As I wrote in that essay: "I hope that today’s generation of artists will remain open to any new advancements, and will profit from these opportunities when they become available, thus allowing themselves to open doors to higher levels of creative freedom."
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Essays,
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Visual Art in the Internet Age
written on April 3, 2009
I see six major consequences of the Internet Age to the World of Visual Art. They are:
Just like in other professions, there have always been artists who could "sell" themselves and those who couldn't, regardless of their talent or the quality of their work. The internet provides a more efficient way of exposing oneself to the world at large. As I have seen with some other artists, hard work both in their art and in their marketing, generally translates into monetary gain and recognition. But there are also those artists who do little for their own exposure and only concentrate on the quality of their work, and sit around waiting for a miracle to bring them recognition. Then there are those who are good at "selling" themselves, but lack quality. 20th century art was run by those people, but they will soon lose their prominence as I describe below.
To continue with the most elevating effect of the internet - at least for me personally - it has brought us the chance to explore and interact. I think it is a wonderful feeling to know that we are not alone in "that" art world. For me the Energy Art Movement is a culmination of this effect, and I can't imagine doing anything that I would be more motivated by when it comes to meeting and promoting genuine artists. I also enjoy meeting young talent, especially on Deviantart. Exploring fellow artists' work, one also gets a good idea of where to improve.
The chance of promoting one's work and interacting with others, adds up to an opposing force to the significance of galleries. Not that they necessarily need to be opposed, it is just an unavoidable consequence. I don't believe that physical commercial galleries will disappear anytime soon though. But it is certain that artists' websites and online marketplaces - for both originals and prints - will be the dominating method of sales in art in the very near future. The people are finding it more and more absurd to visit galleries in person, and instead of traveling they just browse their websites and order online. The same is true for individual artists. So the future will be all about how good you and your work looks on the internet. I also see more and more artist collectives forming, which means artists are realizing that together they stand a greater chance than alone.
As a consequence of the above, the medium in which your artwork was made, will become less significant as well, since only its "image" on the internet and the presentation of it on your website is going to matter. People will buy more and more of their art on the internet, so they will turn to buying prints, besides shopping at marketplaces like Ebay or Etsy for original art. So artists must keep this already occuring transitions in mind, and stay ahead of the wave.
Again as a consequence, the quality and impression of the "image" of the artwork is going to gain greater prominence. The new "judges" of the art world are not the collectors or the gallery owners anymore, but the general public and the young kids on Deviantart. They will soon grow up and with the real art in mind that they saw and collected online, they will sweep aside all the overeducated nonsense of the 20th century, simply by their freedom of choice what to buy, again online. New York is already feeling the transition, and attempts to react by infusing more and more hyper/academic/neo-realism into their repertoire, but even that is not going to work. It is mere backward evolution and a weak attempt. Dalí was right in saying that the art of the future is surrealism, but only an artist or appreciator who has genuine artistic sense, can "see" why.
Young people's perception of art will soon spring forth from their own inner self-confidence. Everyone is born with some level of genuine artistic sense, which later on gets overridden by the opinions/choices/dictation of artists/galleries/collectors and other "respectable" figures who they so far lacked confidence to question. But since children interested in art, will now grow up in an art-saturated internet environment, they will inherently develop confidence in their own opinions, which is founded on their true natural inner artistic sense that cannot mislead them. Whether they will prefer lighter or darker art, they will seek out quality work. And this effect is true for everyone, not just artistically-talented children.
So anyone who has created quality art up to now and from now on, will have a much greater chance to be fairly appreciated by some segment of the public. But we as artists must not forget that our duty lies not only in depicting our visions to the best of our abilities, but also in delivering it to the public through as many channels as we can manage. Self-promotion coupled with talent is not a vice but a virtue. The quality that one strives for, should be interrelated with the confidence one has to promote oneself.
- exposure of individual artists
- interaction of various artists
- smaller significance of galleries
- smaller significance of mediums
- greater significance of visual quality
- young people's perception of art.
Just like in other professions, there have always been artists who could "sell" themselves and those who couldn't, regardless of their talent or the quality of their work. The internet provides a more efficient way of exposing oneself to the world at large. As I have seen with some other artists, hard work both in their art and in their marketing, generally translates into monetary gain and recognition. But there are also those artists who do little for their own exposure and only concentrate on the quality of their work, and sit around waiting for a miracle to bring them recognition. Then there are those who are good at "selling" themselves, but lack quality. 20th century art was run by those people, but they will soon lose their prominence as I describe below.
To continue with the most elevating effect of the internet - at least for me personally - it has brought us the chance to explore and interact. I think it is a wonderful feeling to know that we are not alone in "that" art world. For me the Energy Art Movement is a culmination of this effect, and I can't imagine doing anything that I would be more motivated by when it comes to meeting and promoting genuine artists. I also enjoy meeting young talent, especially on Deviantart. Exploring fellow artists' work, one also gets a good idea of where to improve.
The chance of promoting one's work and interacting with others, adds up to an opposing force to the significance of galleries. Not that they necessarily need to be opposed, it is just an unavoidable consequence. I don't believe that physical commercial galleries will disappear anytime soon though. But it is certain that artists' websites and online marketplaces - for both originals and prints - will be the dominating method of sales in art in the very near future. The people are finding it more and more absurd to visit galleries in person, and instead of traveling they just browse their websites and order online. The same is true for individual artists. So the future will be all about how good you and your work looks on the internet. I also see more and more artist collectives forming, which means artists are realizing that together they stand a greater chance than alone.
As a consequence of the above, the medium in which your artwork was made, will become less significant as well, since only its "image" on the internet and the presentation of it on your website is going to matter. People will buy more and more of their art on the internet, so they will turn to buying prints, besides shopping at marketplaces like Ebay or Etsy for original art. So artists must keep this already occuring transitions in mind, and stay ahead of the wave.
Again as a consequence, the quality and impression of the "image" of the artwork is going to gain greater prominence. The new "judges" of the art world are not the collectors or the gallery owners anymore, but the general public and the young kids on Deviantart. They will soon grow up and with the real art in mind that they saw and collected online, they will sweep aside all the overeducated nonsense of the 20th century, simply by their freedom of choice what to buy, again online. New York is already feeling the transition, and attempts to react by infusing more and more hyper/academic/neo-realism into their repertoire, but even that is not going to work. It is mere backward evolution and a weak attempt. Dalí was right in saying that the art of the future is surrealism, but only an artist or appreciator who has genuine artistic sense, can "see" why.
Young people's perception of art will soon spring forth from their own inner self-confidence. Everyone is born with some level of genuine artistic sense, which later on gets overridden by the opinions/choices/dictation of artists/galleries/collectors and other "respectable" figures who they so far lacked confidence to question. But since children interested in art, will now grow up in an art-saturated internet environment, they will inherently develop confidence in their own opinions, which is founded on their true natural inner artistic sense that cannot mislead them. Whether they will prefer lighter or darker art, they will seek out quality work. And this effect is true for everyone, not just artistically-talented children.
So anyone who has created quality art up to now and from now on, will have a much greater chance to be fairly appreciated by some segment of the public. But we as artists must not forget that our duty lies not only in depicting our visions to the best of our abilities, but also in delivering it to the public through as many channels as we can manage. Self-promotion coupled with talent is not a vice but a virtue. The quality that one strives for, should be interrelated with the confidence one has to promote oneself.
On the Future of Art
Traditional ways of the Fine Arts may possibly never be abandoned by artists, since there have always been a select few who haven’t forgotten the legacy of the Ancients and the Old Masters, and who wish to continue in their footsteps, using their media, striving to achieve their expertise, while practising their creative freedom. This is certainly a virtuous approach, yet I do believe that with new and more advanced wings available, we must strive to soar higher and further, in order to truly live up to their legacy. As always, there will be those who remain conservative, and those who explore new ways. My intention is to provide some predictive and suggestive insight into what forms and what stages these new ways will take and go through.
The predictions which follow, will likely be events in art similar to the appearance of photography, acrylics, or the airbrush. While many will take up the new media, there will be some who don't, for various reasons.
Computerized creation is already a method of many digital artists today, and I suspect that their number will grow and take up a majority among all visual artists in the near future. Their growing number will demand easier and more efficient ways of creation. One such revolutionary way in existence, is having a sensitive computer screen as canvas, on it a digital palette, and a special physical paintbrush (stylus) which can pick up colors from the palette, and transfer them onto the digital canvas, while also being able to imitate the effects of traditional brushes. Provided with such a system, a painter may experience an increased level of creative freedom and resulting visual complexity. The painter may concentrate less on the technical and tedious parts of the painting procedure, such as the mixing of colors, the degree of paint application, and the drying of multiple layers, which take away time from the real creative process, and break its fluidity and continuity, thus somewhat hindering the painter. It not only spares the painter unnecessary steps, it also gives advantages that increase creative efficiency in many ways. The special methods and techniques which come with digital media, are not trickery, but rather more advanced and efficient wings for an artist to soar and express oneself with.
I believe that the current efforts in the field of 3D Volumetric Display, or holography, will give rise to an even more advanced digital method of the combination of painting and sculpting. Currently there are digital sculpting softwares, but none which are holographic. Only a handful of companies are involved in such projects, and their devices are mostly developed for scientific purposes, for the plotting of exact 3D functions. But as these devices are perfected, the engineers will hopefully go on to developing a device for artists as well, which can pick up an artist's directions in real time. I imagine such a device to be controlled by hand motions, by wearing special signal-emitting gloves, on which the artist’s fingers can pick up colors from an also holographic palette, to paint an improvised color 3D image in the air, not necessarily flat but in actual space. At first, such a device will likely be monochromatic. The device would locate the motion of the hands and pick up the several signals emitted, and would create an analogous 3D image in the air, displayed simultaneously with the process of creation, the artist's improvisation. As we will understand the human brain sufficiently, such expression of a person's imagination, will become directed purely by thoughts, by reading the mind electronically. From this point follows Salvador Dalí's vision of an ultimate future art form, that of humans being able to manipulate matter in real time via their thoughts - called Quantum Realism.
As for a potential unification of the Arts, it is easy to see how artistic movements of the body, as one sculpts a color holographic image in the air, will bring the Art of Dancing into the creative process, which in turn will demand the assistance of the Arts of Music and Singing. Singing has always gone hand-in-hand with the Art of Poetry. The Art of Acting will soon follow, as more people participate in a single unified creative process, taking self-expression to an all-new, currently unimaginable level, that will include the creators within their creations as performers. Thus the various forms of Art will be unified. The art of "opera" had the same unifying goals, of which the described method is a modernized version.
Robotics, or even future organisms engineered by humans, may well become a part of the artistic creative process, or they may even be programmed to create art themselves, but genuine advancements and recognitions in Art will likely always be made by humans, as we cannot instill in robots the special portion of the divine aesthetic sense of God, that it has endowed us humans with, for that is likely an eternal mystery.
Seeing such a fluid potential transition described above, into novel creative media of the future, I hope that today’s generation of artists will remain open to any new advancements, and will profit from these opportunities when they become available, thus allowing themselves to open doors to higher levels of creative freedom.
The predictions which follow, will likely be events in art similar to the appearance of photography, acrylics, or the airbrush. While many will take up the new media, there will be some who don't, for various reasons.
Computerized creation is already a method of many digital artists today, and I suspect that their number will grow and take up a majority among all visual artists in the near future. Their growing number will demand easier and more efficient ways of creation. One such revolutionary way in existence, is having a sensitive computer screen as canvas, on it a digital palette, and a special physical paintbrush (stylus) which can pick up colors from the palette, and transfer them onto the digital canvas, while also being able to imitate the effects of traditional brushes. Provided with such a system, a painter may experience an increased level of creative freedom and resulting visual complexity. The painter may concentrate less on the technical and tedious parts of the painting procedure, such as the mixing of colors, the degree of paint application, and the drying of multiple layers, which take away time from the real creative process, and break its fluidity and continuity, thus somewhat hindering the painter. It not only spares the painter unnecessary steps, it also gives advantages that increase creative efficiency in many ways. The special methods and techniques which come with digital media, are not trickery, but rather more advanced and efficient wings for an artist to soar and express oneself with.
I believe that the current efforts in the field of 3D Volumetric Display, or holography, will give rise to an even more advanced digital method of the combination of painting and sculpting. Currently there are digital sculpting softwares, but none which are holographic. Only a handful of companies are involved in such projects, and their devices are mostly developed for scientific purposes, for the plotting of exact 3D functions. But as these devices are perfected, the engineers will hopefully go on to developing a device for artists as well, which can pick up an artist's directions in real time. I imagine such a device to be controlled by hand motions, by wearing special signal-emitting gloves, on which the artist’s fingers can pick up colors from an also holographic palette, to paint an improvised color 3D image in the air, not necessarily flat but in actual space. At first, such a device will likely be monochromatic. The device would locate the motion of the hands and pick up the several signals emitted, and would create an analogous 3D image in the air, displayed simultaneously with the process of creation, the artist's improvisation. As we will understand the human brain sufficiently, such expression of a person's imagination, will become directed purely by thoughts, by reading the mind electronically. From this point follows Salvador Dalí's vision of an ultimate future art form, that of humans being able to manipulate matter in real time via their thoughts - called Quantum Realism.
As for a potential unification of the Arts, it is easy to see how artistic movements of the body, as one sculpts a color holographic image in the air, will bring the Art of Dancing into the creative process, which in turn will demand the assistance of the Arts of Music and Singing. Singing has always gone hand-in-hand with the Art of Poetry. The Art of Acting will soon follow, as more people participate in a single unified creative process, taking self-expression to an all-new, currently unimaginable level, that will include the creators within their creations as performers. Thus the various forms of Art will be unified. The art of "opera" had the same unifying goals, of which the described method is a modernized version.
Robotics, or even future organisms engineered by humans, may well become a part of the artistic creative process, or they may even be programmed to create art themselves, but genuine advancements and recognitions in Art will likely always be made by humans, as we cannot instill in robots the special portion of the divine aesthetic sense of God, that it has endowed us humans with, for that is likely an eternal mystery.
Seeing such a fluid potential transition described above, into novel creative media of the future, I hope that today’s generation of artists will remain open to any new advancements, and will profit from these opportunities when they become available, thus allowing themselves to open doors to higher levels of creative freedom.
The Future is Now
/added on Aug. 10, 2010/
The following videos well illustrate the above essay. The first and second videos were made earlier than my essay, while the rest are from later. I do not imply an influence of this essay, but possible.
Pt.2 @troyboi_music . . . #hoopersofig #moodhoops #girlswhohoop #troyboi
A video posted by @dizzydynamic on
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