Digital Art, Culture and Heritage: New constructs and consciousness

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Abstract

This half-day Symposium explores themes of digital art, culture, and heritage, bringing together speakers from a range of disciplines to consider technology with respect to artistic and academic practice. As we increasingly see ourselves and life through a digital lens and the world communicated on digital screens, we experience altered states of being and consciousness in ways that blur the lines between digital and physical reality, while our ways of thinking and seeing become a digital stream of consciousness that flows between place and cyberspace. We have entered the postdigital world and are living, working, and thinking with machines as our computational culture driven by artificial intelligence and machine learning embeds itself in everyday life and threads across art, culture, and heritage, juxtaposing them in the digital profusion of human creativity on the Internet.

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Most cited references 34

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Technology Futures for the Creative Industries: Presenting the Cr-eAM Roadmaps

Lampros Stergioulas, Munir Abbasi, Carl Smith … (2014)

Imagination is the beginning of creation. You imagine what you desire, you will what you imagine and at last, you create what you will (George Bernard Shaw) The CRe-AM project aims to bridge communities of creators with communities of technology providers and innovators, in a collective, strategic Roadmapping efford in order to streamline, coordinate and amplify collaborative work. It will thereby develop, enhance, and mainstream new ICT technologies, processes and tools, to address the needs of different sectors of the creative industries (e.g. arts, culture, design, e-publishing, media, new media, architecture, music technology etc.).

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High-dimensional data analysis: The curses and blessings of dimensionality

D.L. Donoho, DL Donoho, D. Donoho … (2000)

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Curating Digital Life and Culture: Art and information

Tula Giannini, Jonathan Bowen (2016)

The space between digital life and real life continues to fade and nowhere is this more apparent than in arts and cultural contexts. Facilitated by digital capture and curation, social media, the network, Internet, and the web, these forces combine to empower artists to be digital curators of their own work, giving voice and narration to their artistic expression. In the paper entitled Digitalism: the New Realism, the authors focus on how digital tools and technology have changed ways of doing, knowing, and being, while here we look at how today’s digital landscape is changing ways of artistic expression, narration, communication, and human interaction. The growing use of digital tools and technology in the arts and culture is dramatically transforming traditional curatorial practice and by extension archival practice, so that we are moving from a gatekeeping model to an open model steeped in digital relationships across global networks and the Internet. As we immerse ourselves in the digital world, where anyone with a smartphone can be a digital curator and marshal a range of Internet services, such as Instagram, Pinterest, Twitter, Facebook, YouTube, and more specifically for example Behance (for online portfolios), artists are enabled to freely engage and interact with their audience using to their advantage crowdsourcing, “likes”, chat, blogs, games and email. Emerging artists are particularly expert digitally and are able to curate their life and work directly, living naturally between physical and digital states. To demonstrate this, our study presents specific examples of how artists and GLAM (Galleries, Libraries, Archives, and Museum) institutions are adapting to new digital ways of curating collections and conveying meaning. Additionally, we show how notions of what constitutes artistic expression are evolving as art traverses digital media boundaries, especially in terms of visual and textual media. Importantly, as life in the 21st century plays out on the digital stage of the Internet, artists and GLAM institutions find themselves more than ever working at the intersection of art and information which is leading to new and innovative ways of curating contemporary art that are expressive of artistic vision and digital aesthetics, while conveying social and political meaning capable of influencing and impacting our lives.

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Author and article information

Contributors

Jonathan P. Bowen: http://www.jpbowen.com

Tula Giannini: http://sites.google.com/view/tgiannini/

Rachel Ara: http://www.2ra.co

Andy Lomas: http://www.andylomas.com

Judith Siefring

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Publication date: July 2019

Publication date (Print): July 2019

Pages: 1-9

Affiliations

London South Bank University

School of Engineering

London SE1 0AA, UK

Pratt Institute

School of Information

New York, NY 10011, USA

Thames-Side Studios

Harrington Way, Woolwich

London SE18 5NR, UK

Goldsmiths, University of London

Department of Computing

London SE14 6NW, UK

Bodleian Libraries

University of Oxford

Oxford OX1 3BG

UK

Article

DOI: 10.14236/ewic/EVA2019.1

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2019

Conference acronym: EVA 2019

Conference number:

Conference location: London, UK

Conference date: 8 - 11 July 2019

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

Product

Product Information: 1477-9358BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2019.1

Self URI (journal page): https://ewic.bcs.org/

Digital Art, Culture and Heritage: New constructs and consciousness

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Abstract

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Electronic Workshops in Computing (eWiC)

Most cited references 34

Technology Futures for the Creative Industries: Presenting the Cr-eAM Roadmaps

High-dimensional data analysis: The curses and blessings of dimensionality

Curating Digital Life and Culture: Art and information

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