http://de.evo-art.org/index.php?action=history&feed=atom&title=Collage%2C_Technology%2C_and_Creative_Process 2026-05-16T11:37:50Z Versionsgeschichte dieser Seite in de_evolutionary_art_org MediaWiki 1.27.4 http://de.evo-art.org/index.php?title=Collage,_Technology,_and_Creative_Process&diff=2665&oldid=prev 2014-12-28T09:41:47Z

<p>Die Seite wurde neu angelegt: „== Reference == Penny Feuerstein: <a href="/index.php?title=Collage,_Technology,_and_Creative_Process" title="Collage, Technology, and Creative Process">Collage, Technology, and Creative Process</a>. In: <a href="/index.php?title=Generative_Art_1998" title="Generative Art 1998">Generative Art 1998</a>. == DOI == == Abstract == Throughout this centu…“</p> <p><b>Neue Seite</b></p><div>== Reference ==<br /> Penny Feuerstein: [[Collage, Technology, and Creative Process]]. In: [[Generative Art 1998]]. <br /> <br /> == DOI ==<br /> <br /> == Abstract ==<br /> Throughout this century many artists have<br /> been using some form of collage to convey<br /> issues of temporal existance and reality. I use<br /> the computer to create collage in a very basic<br /> and fundamental way-to scan in found objects<br /> and draw abstract landscapes with their<br /> textures. Although these actions may seem<br /> minimal compared to what the computer can<br /> do, I do not think their implications should be<br /> overlooked. Creating collage on computer<br /> takes the ideas of collage to a new level. It is<br /> about the”superintegration” of all views of life,<br /> in other words, life goverened by a single<br /> outlook. The material and the spiritual, the<br /> intellectual and the moral are one. Life is not<br /> a series of discrete experiences, influenced<br /> by diverse forces.We do not live in a<br /> fragmented universe,but in a continuum.<br /> Before the beginning of the twentieth century<br /> temporal existance was considered linear. It<br /> was based on Isac Newton’s definitions in<br /> 1687 as being “absolute, true, and<br /> mathmatical time, of itself and from its own<br /> nature, flows equally without relation to<br /> anything external. This notion was inhanced<br /> by the devolopment of symbols and devices<br /> used to measure time. As clocks, watches<br /> and calanders were manufactured, the<br /> concept of “public” time was widely accepted<br /> as a proper marker of duration and<br /> succession.(1) Time was homogeneous and<br /> based on the optical incriments of the clock.<br /> Perspective developed by the renaissancse<br /> archetect Alberti, echoed this optically<br /> perceived world as reality. Cubism, with its<br /> multiple viewpoints replaced this linear<br /> perspective and brought about the destruction<br /> of the illusionist means and effects that had<br /> characterized Western painting since the <br /> fifteenth century. Clement Greenberg describes<br /> the way in which physical and spiritual realities<br /> are combined in cubist collages. “The collage<br /> medium has played a pivotal role in twentieth<br /> century painting and sculpture. By pasting a<br /> piece of newspaper lettering to the canvas one<br /> called attention to the physical reality of the<br /> work of art and made that reality the same as<br /> the art.”(2)The French word collage means<br /> pasting or gluing. ...<br /> <br /> == Extended Abstract ==<br /> <br /> == Bibtex == <br /> <br /> == Used References ==<br /> 1. Stephen Kern, “The Culture of Time and Space, (U.S.A. Andrew W. Mellon Foundation,<br /> 1983),p.11.<br /> <br /> 2. John O’Brian,”Clement Greenberg: The Collected Essays and Criticism Volume 2 Arrogant<br /> Purpose, 1945-1949&quot;(Chicago: The University of Chicago Press, 1986), p.259-263<br /> <br /> 3. Katherine Hoffman, “Collage: Critical Views”(Ann Arbor, Michigan:UMI Research<br /> Press,1989),foreward by Kim Levin<br /> <br /> 4. Ibid.<br /> <br /> 5. Frederic Tuten, “David Salle: At the Edges”, Art in America”, September 1997,p.81<br /> <br /> 6. Stephen Kern, “The Culture of Time and Space(U.S. A., Andrew W. Mellon Foundation,<br /> 1983)p.15.<br /> <br /> 7. James McFarlane, The Mind of Modernism,” in Bradbury and McFarland,p.92, cited in<br /> Katherine Hoffman, “Collage: Critical Views”(Ann Arbor, Michigan: UMI Research Press,<br /> 1989),p.3.<br /> <br /> 8. Patric D. Prince, “The Aesthetics of Exhibition: A dicussion of Recent American Computer<br /> Art Shows” Leonardo Supplemental Issue, 1988, p.85.<br /> <br /> 9. Timothy Binkley, The Wizard of Ethereal pictures and Virtual Places”, Leonardo<br /> Supplemental Issue, 1989, p.13.<br /> 10. Ibid.<br /> <br /> 11. John Pearson, “The Computer: Liberator or Jailer of the Creative Spirit”, Leonardo<br /> Supplemental Issue, 1988, p.76<br /> <br /> 12. Francoise Gilot and Carlton Lake, “Life with Picasso” (New York: McGraw-Hill, 1964),p.70,<br /> cited in Katherine Hoffman, “Collage: Critical Views”(Ann Arbor, Michigan: UMI Research<br /> Press,1989),p.7.<br /> <br /> 13. John I. H. Baur, “Nature In Abstraction” (New York: Macmillian Company, 1958), p.76.<br /> <br /> 14. Henry F. May, “The End of American Innocence(New York: Alfred Kopf, 1959),pp.238-39,<br /> Cited in Katherine Hoffman, “Collage: Critical Views”(Ann Arbor, Michigan: UMI Research<br /> Press, 1989), p.2.<br /> <br /> 15.Stephen Kern, “The Culture of Time and Space, (U.S. A., Andrew W. Mellon Foundation,<br /> 1983)p.24.<br /> <br /> <br /> == Links ==<br /> === Full Text === <br /> http://www.generativeart.com/on/cic/ga98/book/12.pdf<br /> <br /> [[intern file]]<br /> <br /> === Sonstige Links ===</div>

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