Creating Synthesis: Art and New Technology as Unseparatedness

This paper aims at finding how to create a synthesis of art and new technology. Referring to Hegelian Dialectics, synthesis means art that is not governed by any separation, polarization or further hierarchy in relation to new technology. Systems Art suggested by Jack Burnham in the late 1960s is failed to be such a synthesis, as well as was failed art in those days. Systems art and new technology are in a linear or separable relation since the art is mere educational to inform of the technological system. As its counterpart this paper suggests one way to create a synthesis: unseparatedness of technophilia and technophobia as cultural dualism. It describes Maya Deren’s creation in the post-WWII environment through her own writings. Deren embraced science’s systematic process as a source of development while disappointed at the results science contributed to during the war. This unseparated technophile and technophobic mind pushed her towards developing a synthesis, inhering transcendence and therefore evolution of the relation between new technology and human.

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Author and article information

Contributors

Dami Kim

Conference

Publication date: August 2019

Publication date (Print): August 2019

Pages: 232-236

Affiliations

[0001]Paris College of Art

128 rue Brancion 75015 Paris France

Article

DOI: 10.14236/ewic/RESOUND19.35

SO-VID: 6e591393-0474-48c8-9d75-6abb2e737058

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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: RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology

Conference acronym: RE:SOUND 2019

Conference number: 8

Conference location: Aalborg, Denmark

Conference date: August 20-23, 2019

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Media Art, Science, and Technology

History

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/RESOUND19.35

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

REFERENCES

Jack. Burnham 1980 Art and Technology: The Panacea that Failed The Myths of Information: Technology and Postindustrial Culture Kathleen M. Woodward Madison, WI Coda Press
Jack. Burnham 1968 Systems Esthetics Artforum 7 1
Maya. Deren 1946 An Anagram of Ideas on art, form and film Yonkers, New York Alicat Book Shop Press
Maya. Deren 1947 From the Notebook of Maya Deren, 1947 October 14 21 46
Maya Deren 1945 A Study in Choreography for Camera Independent Filmmaking in United States. 16mm Film (Black and White, Silent), 3min
Katherine. Diekmann 1985 Electra Myths: Video, Modernism, Postmodernism Art Journal 45 3 195 203
Hans. Haacke 1968 Photoelectric Viewercontrolled Coordinate System Various dimensions
Georg Wilhelm Friedrigh. Hegel 1954 The Philosophy of Hegel New York Modern Library
Noordegraaf JuliaCosetta G. SabaLe Maître BarbaraHediger Vinzenz 2013 Technological Platforms Preserving and Exhibiting Media Art: Challenges and Perspectives Amsterdam Amsterdam University Press 201 52
Gustav E. Mueller 1958 The Hegel Legend of “Thesis-Antithesis-Synthesis.” Journal of the History of Ideas 19 3 411 14
Catrina. Neiman 1980 An Introduction to the Notebook of Maya Deren, 1947 October 14 315
Karl Pontus Hulten 1968 The Machine as Seen at the End of the Mechanical Age New York MoMA. Exhibition Catalogue
Hilton. Kramer 1982 The Modern Movement on the Eve of the Second World War The American Scholar 51 2 219 28
Jasia. Reichardt 1970 Cybernetic Serendipity: The Computer and the Arts London Studio International
Luke. Skrebowski 2008 All Systems Go: Recovering Hans Haacke’s Systems Art Grey Room 30 54 83
Malcolm. Turvey 1999 Can the Camera See? Mimesis in "Man with a Movie Camera" October 89 25 50
Dziga Vertov 1929 Man with a Movie Camera Ukraine VUFKU 1929 16mm Film, 68min

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Comment on this article

[1] Jack. Burnham 1980 Art and Technology: The Panacea that Failed The Myths of Information: Technology and Postindustrial Culture Kathleen M. Woodward Madison, WI Coda Press

[2] Jack. Burnham 1968 Systems Esthetics Artforum 7 1

[3] Maya. Deren 1946 An Anagram of Ideas on art, form and film Yonkers, New York Alicat Book Shop Press

[4] Maya. Deren 1947 From the Notebook of Maya Deren, 1947 October 14 21 46

[5] Maya Deren 1945 A Study in Choreography for Camera Independent Filmmaking in United States. 16mm Film (Black and White, Silent), 3min

[6] Katherine. Diekmann 1985 Electra Myths: Video, Modernism, Postmodernism Art Journal 45 3 195 203

[7] Hans. Haacke 1968 Photoelectric Viewercontrolled Coordinate System Various dimensions

[8] Georg Wilhelm Friedrigh. Hegel 1954 The Philosophy of Hegel New York Modern Library

[9] Noordegraaf JuliaCosetta G. SabaLe Maître BarbaraHediger Vinzenz 2013 Technological Platforms Preserving and Exhibiting Media Art: Challenges and Perspectives Amsterdam Amsterdam University Press 201 52

[10] Gustav E. Mueller 1958 The Hegel Legend of “Thesis-Antithesis-Synthesis.” Journal of the History of Ideas 19 3 411 14

[11] Catrina. Neiman 1980 An Introduction to the Notebook of Maya Deren, 1947 October 14 315

[12] Karl Pontus Hulten 1968 The Machine as Seen at the End of the Mechanical Age New York MoMA. Exhibition Catalogue

[13] Hilton. Kramer 1982 The Modern Movement on the Eve of the Second World War The American Scholar 51 2 219 28

[14] Jasia. Reichardt 1970 Cybernetic Serendipity: The Computer and the Arts London Studio International

[15] Luke. Skrebowski 2008 All Systems Go: Recovering Hans Haacke’s Systems Art Grey Room 30 54 83

[16] Malcolm. Turvey 1999 Can the Camera See? Mimesis in "Man with a Movie Camera" October 89 25 50

[17] Dziga Vertov 1929 Man with a Movie Camera Ukraine VUFKU 1929 16mm Film, 68min

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