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