Panel: Compumorphic Art: The Computer as Muse
This paper seeks to address the issues involved in curating Digital Art: From SIGGRAPH to ‘Second Life’, which is an ongoing conflict between materiality and immateriality of both the medium and the artwork. This is a curatorial conundrum in contemporary new media, that challenges the role and connections between digital art and traditionally based art practice such as painting, printmaking and installation art when it is extracted from a digital artwork. In this new landscape of digital culture, old traditions and new practices are both in conflict and symbiosis: contemporary artistic practices reflects the socio-cultural landscape created by new technological applications, defying notions of discipline, borders, boundaries and journeys. Digital innovation can be seen on the one hand as a growth in efficiency and power, an emergent source of energy and a test bed for the introduction of new knowledge and empowerment. Which accepts a leap forward in speed and cost-efficiency, using social networks and virtual culture to investigate and challenge the existing notions of the relationships between ‘the artist’ and ‘the audience’. Another is to facilitate in a new computerised network and collaborative world that opens up opportunities to create, receive and interact with conduits of information and data. Allowing for the exploitation of technical and commercial possibilities through the use of digital technology, to engage in new forms of practices, using innovative spaces for viewing and receiving work both virtually and physically, in what can be perceived as new and emergent art forms.
- Sue Gollifer is the Director of the ISEA International Headquarters, and a Principal Lecturer at the University of Brighton, UK. She is the Course Leader for the MA in Digital Media Arts. Gollifer’s primary research is on ‘the impact of new technology within the practice of Fine Art’. A pioneer of early computer art, she has continuously explored the relationship between technology and the arts and has written extensively on this subject. She has been a professional artist/printmaker for over 40 years, exhibiting work regularly throughout the world and her work is held in major national and international public collections. She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995–2007 and the ACM SIGGRAPH Art Gallery Chair ’04: Synaesthesia and 2010 HOT PLATE. Gollifer is on a number of national and international committees, including a member of the Creators Council of the Design and Artists Copyright Society (DACS), the Computer Arts Society, (CAS), the New Media Caucus and Lighthouse Brighton. She is the assistant editor of ‘Digital Creativity’ a referred journal published by Routledge. In 2006, she was the precipitant for an International Digital Media Arts Award (iDMAa) for her ‘Exceptional Services to the International New Media Community’.