This panel will attempt to explore the working methodologies of three artists from three different backgrounds – painting (2D), ceramic and sculpture (3D), and virtual environments (4D) who utilise computer technology for their art. The focus of the panel will be on the role of DlMENSION in the process of ideation and design. Since the computer can expedite the potentially seamless integration of historically separate approaches to art (e.g. 2D, 3D and
4D) many dimensional ambiguities may result in the final artworks. Art as a thought process transcends dimension. However, many artists limit themselves by ‘buying into’ the labels of particular software packages. Thinking beyond these labels can remove these limitations, but it may also result in a quandary for those viewing the works: in what category does the art fit? All too often these dimensional categories are used to determine the validity of a particular work. Most enduring works of art do not lend themselves to simple interpre-tation, but rather draw us back time and time again to explore and see new things with each viewing. Ambiguity is a form of communication which is a potent method for jolting people out of their established modes of perception. How the ambiguity of dimension can manifest itself in computer art is the theme of this panel. As each artist has specific and often contradictory views about how their artwork demonstrates this quality of ambiguity, the discussion promises to be very lively. The computer-artist synergy is still in its infancy. The distinctions between dimensions may be an indication of this infancy. As it grows and matures these distinctions may fade into arbitrariness, and computer art may earn the recognition it deserves as a rich new medium.
- Jacquelyn Ford Morie, University of Central Florida, USA
- Barbara Mones-Hattal, George Mason University, USA
- Cynthia Beth Rubin, University of Vermont. USA