- Title
- Exploring the continued importance of technique in the co-production of art with A.I.
- Creator
- Venter, Simon Denis
- Subject
- Art and technology
- Subject
- Mass media and culture
- Subject
- Artificial Intelligence
- Date Issued
- 2024-04
- Date
- 2024-04
- Type
- Master's theses
- Type
- text
- Identifier
- http://hdl.handle.net/10948/63573
- Identifier
- vital:73504
- Description
- n Plato’s Republic, artists are criticised for their perceived lack of rationality, since “art encourages and appeals to emotion,” insofar as “its ruling principle is the passions, which in a happy and well-ordered life must be controlled by reason;” indeed, on this basis, “the aesthetic experience” is even said to be “a psychological anarchy, [and] an orgy of misrule” (Collingwood, 1925: 156). However, this reification of reason in Plato’s hypothesized world,1 informed as it was by static hierarchy, has remained dissonant with the path of history toward entropy, as evinced by the chaotic flux of postmodernity. Certainly, this is exemplified in our own postmodern world, characterized as it is by ever greater degrees of disintegration into diversity, as the economic, social, and geo-political orders established in the mid-twentieth century are challenged and transformed into new paradigms through the increasing multiplicity of demands being made on them (Fowlie & Sills, 2011: 120-121). Accordingly, far from being a source of delusion and dissimilation, it could equally be argued that, collectively and individually, artists’ works reflect this kaleidoscopic trace of time more truthfully than the lens of reason, precisely because life – like art – is also largely psychological anarchy and an orgy of misrule. And within this dynamic environment, the reflections of artists, in turn, assume their value, as traces of what, for want of a better term, will henceforth be referred to as living dialogical time. That is, from this perspective, artists are not the political problem Plato suggested them to be, but rather as a whole comprise a reflection of the living dialogical time that, today, recognises itself collectively as humanity. However, while art has always involved material marks, digitality has recently changed this requirement, in ways which have raised a series of important and difficult questions for the world of art. That is, digitality has changed the wall of the cave into the digits of ones and zeros, which are eradicated at the click of an icon, only to be reconstructed at the click of an icon. Thus, the interface between art and digitality involves the former being presented with increasing opportunities for dynamism, but only at the expense of its materiality – insofar as such dynamism requires art to transition to cyber-virtual platforms. But in this regard, it must be remembered that, by definition, an icon is something which connects us to what cannot ever be represented, because it is beyond our everyday living reality, in an atemporal plane.
- Description
- Thesis (MA) -- Faculty of Humanities, School of Language, Media and Communication, 2024
- Format
- computer
- Format
- online resource
- Format
- application/pdf
- Format
- 1 online resource (XXX pages)
- Format
- Publisher
- Nelson Mandela University
- Publisher
- Faculty of Humanities
- Language
- English
- Rights
- Nelson Mandela University
- Rights
- All Rights Reserved
- Rights
- Open Access
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NMU School of Language, Media and Culture
| Thumbnail | File | Description | Size | Format | |||
|---|---|---|---|---|---|---|---|
| View Details Download | SOURCE1 | Venter, SD April 2024.pdf | 1 MB | Adobe Acrobat PDF | View Details Download |