3. “ Until 1910, the machine was the enemy of all that
modernist artists held dear: handcraft, creativity, individuality, and
the marks of original expression. It bore the taint of mass-
produced polish, an uncreative ‘perfection’ that reduced the
worker to a mere robot, and was also tainted by association
with the money-grubbing bourgeoisie. ”
–– Robert Herbert
(1997:1275)
8. “ Photography as an art was ridiculed, attacked –– especially
by the academic painters, who thought that the camera
might take their livelihood away. The acknowledgement of
the validity of photography as a new material, as a new
way of seeing life through a machine, was
questioned and fundamentally denied. ”
–– Paul Strand
(Cooper 1992:15)
10. • As technology made the reproduction of art easier, artists
realized machines could be the “servant of creativity”.
(Herbert 1997:1276)
11. • As technology made the reproduction of art easier, artists
realized machines could be the “servant of creativity”.
(Herbert 1997:1276)
• The rapid increase of technology in everyday life. Cars,
sewing machines, electric lighting, subways, the cinema...
(Herbert 1997)
19. “ Today digital art –– actually all art –– has awareness. This
has always been true, but we have now become
aware of art’s awareness. Pieces listen to us, they see
us, they sense our presence and wait for us to inspire them,
and not the other way around . . . Pieces of art are in a
constant state of becoming. ”
–– Rafael Lozano-Gemmer
(McQuire and Radywyl 2010:18)
22. Art as an experience, not a product
Mapping the studio! (Fat chance John Cage)
Bruce Nauman, 2001
23. De-emphasis of the individual
A. Rejecting the commodification of art
Banksy
24. De-emphasis of the individual
B. Loss of physical form
http://www.osculator.net/doc/_media/manual:wacom_ptz0806.jpg
25. “What is at stake in becoming digital for many of the artists is
the autonomous self. The autonomous self is grounded in
the physical world, with the hand acting as an extension
of the self, leaving the embodied trace of the maker.”
–– Tracey Bowen
(Bowen 2003:227)
26. De-emphasis of the individual
C. Copies, copies, copies...
(c) Marco Taiana
Campbell’s Soup Cans
Andy Warhol,1962
28. “Seven decades later, this shift remains uneven and
ambiguous. The concept of authenticity remains
alive and marketable, not least in the realm of
photography where limited editions, signed copies, and
‘original’ prints abound with a vigour.”
–– McQuire and Radywyl
(2010:11)
29. What I find most interesting about cyborg art is the way it
seems to mimic our changing definition of information.
30. It’s easily copied, we’re having a hard time determining who
“owns” it . . .
33. References Cited
Bowen, Tracey.
2003 Making art in a digital/cyber culture: exploring the dialectic between the manual creator and the
digital self. Digital Creativity 14(4): 219-229. Electronic document, http://search.ebscohost.com/
login.aspx?direct=true&db=a9h&AN=11693537&site=ehost-live, accessed February 24, 2011.
Cheng, Scarlet
2010 Art, Technology and the Human Imperative. Ceramics: Art & Perception 79: 64-67. Electronic
document, http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=48444665&site=ehost-
live, accessed February 5, 2011.
Cooper, Thomas Joshua
1992 Dialogue With Photography. Manchester: Cornerhouse Publications.
Gablik, Suzi
1995 Conversations Before the End of Time. New York: Thames and Hudson Inc.
Gehl, John and Douglas, Suzanne
1999 Review of Understanding Media. In World & I 14(1). Electronic document, http://
search.ebscohost.com/login.aspx?direct=true&db=f5h&AN=1460672&site=ehost-live, accessed
February 5, 2011.
Herbert, Robert
1997 The Arrival of the Machine: Modernist Art in, Europe, 1910-25. Social Research 64
(3): 1273-1305. Electronic document, http://search.ebscohost.com/login.aspx?
direct=true&db=a9h&AN=9710256744&site=ehost-live, accessed February 10, 2011.
34. Kimmelman, Michael
2002 ART IN REVIEW; Bruce Nauman -- 'Mapping the Studio I (Fat Chance John Cage)’.
New York Times, July 5. Electronic document, http://www.nytimes.com/2002/07/05/arts/art-
in-review-bruce-nauman-mapping-the-studio-i-fat-chance-john-cage.html, accessed
February 28, 2011.
Lozano-Hemmer, Rafael
2010 Vectorial Elevation. Electronic document, http://www.vectorialvancouver.net/, accessed
February 28, 2011.
McQuire, Scott and Radywyl, Natalia
2010 From Object to Platform: Art, digital technology and time. Time & Society 19(1): 5-27.
Electronic document, http://search.ebscohost.com/login.aspx?
direct=true&db=a9h&AN=48616040&site=ehost-live, accessed February 10, 2011.
Reid, John
1998 Photography & the Camera. Monkeyshines on Health & Science 4(1): 4-43. Electronic
document, http://search.ebscohost.com/login.aspx?direct=true&db=f5h&AN=12907960&site=ehost-
live, accessed January 25, 2011.
Shanken, Edward
2005 Hot to bot: Pygmalion’s lust, the Maharal’s fear, and the cyborg future of art. Technoetic Arts: A
journal of Speculative Research 3(1): 43-55. Electronic document, http://search.ebscohost.com/
login.aspx?direct=true&db=a9h&AN=17287387&site=ehost-live, accessed January 25, 2011.
