| 词条 | Postdigital |
| 释义 |
}} Postdigital, in artistic practice, is an attitude that is more concerned with being human, than with being digital. Postdigital is concerned with our rapidly changed and changing relationships with digital technologies and art forms. If one examines the textual paradigm of consensus, one is faced with a choice: either the "postdigital" society has intrinsic meaning, or it is contextualised into a paradigm of consensus that includes art as a totality. TheoryGiorgio Agamben (2002) describes paradigms as things what we think with, rather than things we think about. Like the computer age, the postdigital is also a paradigm, but as with post-humanism for example, an understanding of postdigital does not aim to describe a life after digital, but rather attempts to describe the present-day opportunity to explore the consequences of the digital and of the computer age. While the computer age has enhanced human capacity with inviting and uncanny prosthetics, the postdigital may provide a paradigm with which it is possible to examine and understand this enhancement. In The Future of Art in a Postdigital Age Mel Alexenberg defines "postdigital art" as artworks that address the humanization of digital technologies through interplay between digital, biological, cultural, and spiritual systems, between cyberspace and real space, between embodied media and mixed reality in social and physical communication, between high tech and high touch experiences, between visual, haptic, auditory, and kinesthetic media experiences, between virtual and augmented reality, between roots and globalization, between autoethnography and community narrative, and between web-enabled peer-produced wikiart and artworks created with alternative media through participation, interaction, and collaboration in which the role of the artist is redefined. In addition to the wide scope of artistic discourse, the notion of postdigital is emerging as a term that describes the exploration of our relationship to the computer age as a dominant paradigm in a time of global mixing, intertwined economies, population certainty and planetary limits, for example in the work of Berry (2014). Roy Ascott has demonstrated that the distinction between the digital and the "postdigital" is part of the economy of reality. MusicKim Cascone uses the term in his article The Aesthetics of Failure: "Post-digital" Tendencies in Contemporary Computer Music.[1] He begins the article with a quotation from MIT Media Lab cyberpundit Nicholas Negroponte: "The digital revolution is over." Cascone goes on to describe what he sees as a 'post-digital' line of flight in the music also commonly known as glitch or microsound music, observing that 'with electronic commerce now a natural part of the business fabric of the Western world and Hollywood cranking out digital fluff by the gigabyte, the medium of digital technology holds less fascination for composers in and of itself.' In Art after Technology Maurice Benayoun lists possible tracks for "postdigital" art considering that the digital flooding has altered the entire social, economical, artistic landscape and the artist posture will move in ways that try to escape the technological realm without being able to completely discard it. From lowtech to biotech and critical fusion - critical intrusion of fiction inside reality – new forms of art emerge from the digital era. Further reading
External links
See also
References1. ^{{cite web|title=THE AESTHETICS OF FAILURE 'Post-Digital' Tendencies in Contemporary Computer Music|url=http://mitpress.mit.edu/journals/COMJ/CMJ24_4Cascone.pdf|work=Computer Music Journal, 24:4 Winter 2002 (MIT Press)|first=Kim |last=Cascone |accessdate=15 June 2017}} 7 : Digital art|Digital electronics|Computer art|New media|New media art|Interactive art|Art genres |
| 随便看 |
|
开放百科全书收录14589846条英语、德语、日语等多语种百科知识，基本涵盖了大多数领域的百科知识，是一部内容自由、开放的电子版国际百科全书。