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A Philosophy of Computer Art by Dominic McIver Lopes

By Dominic McIver Lopes

What is desktop paintings? Do the techniques we often hire to speak about paintings, akin to ‘meaning’, ‘form’ or ‘expression’ observe to machine paintings?  

A Philosophy of laptop Art is the 1st e-book to discover those questions. Dominic Lopes argues that computing device artwork demanding situations a number of the uncomplicated tenets of conventional methods of considering and making artwork and that to appreciate desktop paintings we have to position specific emphasis on phrases akin to ‘interactivity’ and ‘user’.

Drawing on a wealth of examples he additionally explains how the jobs of the pc artist and laptop artwork consumer distinguishes them from makers and spectators of conventional paintings types and argues that desktop paintings permits us to appreciate greater the function of expertise as an paintings medium.

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9 Presumably, then, some other ingredient of “active thought” is missing from our encounters with computer-based art. Two reasons for (2) come directly from other arguments. First, in support of the argument from the creativity sink, some accuse virtual reality works of stifling creativity by blindly copying reality. This is also reason to suspect them of impeding active thought. A convincing illusion of reality must be internally coherent. Thus it cannot tolerate contradictions and unlikely comparisons.

Is it run on a computer and is it interactive because it’s run on a computer? The short answer is yes. After all, the human brain is a computer, and the updating of the display requires the brainwork of its human operator. But 47 48 A philosophy of computer art this answer isn’t entirely satisfactory, because not everything a brain does is a matter of running computational processes. The longer answer specifically addresses the definition of a computer as a device designed to control a transition from input conditions to output conditions by following formal rules.

The text on this screen is also hyperlinked. Having selected several links you come to realize that the sequence of screens comprises an epic with no prescribed order of reading. Reading the epic is an act of navigation into the unknown, and you must assemble what you learn from each trip through the site into a map that tells the whole story. 4 Schematic of Scott Snibbe, Boundary Functions, 1998 Scott Snibbe, Boundary Functions, 1998 (fig. 4) You and a companion step onto a slightly raised platform and a line is projected onto the floor halfway between you.

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