Abstract

The notion of the artist taking on the role of the scientist is not without historical precedent. In the 1960’s E.A.T., Experiments in Art and Technology, led by Bell Labs’ engineer Billy Klüver, aided artists such as Robert Rauschenberg in pushing the avant-garde to integrate technology. Sullivan (2005) maintains that the time has come to examine art as data and artistic practice as research. The digital revolution produced a new artist model for today’s avant-garde and has been described as a Merlin, a trickster magician (Hickey, 1997). Today’s digital lifestyles provide opportunity for cultural study and perhaps a new model for the artist-researcher who is creating a paradigmatic shift, the digital aesthetic.

• Dr. Sherry Mayo, Director of the WAW Peekskill Extension Center, Westchester Community College, NY, USA

Full text (PDF) p.  331-333