The algorithmic turn in photography raises the question of whether an algorithmically generated image is even a photograph at all. This paradox is abundant on India's urban streets, where the pedestrian or road user is met with giant photo saturated flex hoardings printed with political and community messages and photo-shopped portraits of gods, chief ministers and party workers. In this article, attention to photo-based political posters alongside art practices sharing common elements of digital capture and postproduction contextualizes a reading of (...) technologically produced visual landscapes in the South Indian city of Bangalore. Informed by Vilèm Flusser, the techno-materiality of hoardings are interpreted as visual practices whose reliance on Microsoft and Adobe softwares reveal more than the semiotic information that is ostensibly transmitted; in so doing the extent to which photography is a useful entry point for assessing the visuality in which we're currently living and how this gets locally inflected in the case of India is explored. (shrink)

The book concludes that it is a mistake to think of Art as something subjective, or as an arbitrary social representation, and of Technology as an instrumental ..

AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology (...) and digital media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds. (shrink)

This is not the first time the title ‘Art and Technology’ has been used, but to distinguish what I have to say from Walter Gropius's Bauhaus exhibition of 1923, I am subtitling my paper ‘an old tension’, where the architect spoke of ‘a new unity’. In a way, Gropius has been proved right; the structures of the future avoiding all romantic embellishment and whimsy, the cathedrals of socialism, the corporate planning of comprehensive Utopian designs have all gone up and (...) some come down. We have a mass media culture also largely made possible by technology. Corporatist architecture, whether statist ‘social housing’ or freemarket inspired, films, videos, modern recording and musical techniques are all due to technological advances made mostly this century. Only in a very puritanical sense could what has happened be thought of as inevitably bringing with it enslavement. All kinds of possibilities are now open to artists and architects, which would have been imaginable a few decades ago. No one is forced to use these possibilities in any specific way. (shrink)

We are all privy, or rather participants, in an unprecedented scientific and technological outbreak whose rules have been taken in even by cultures ideologically deviating from the standards of the West, even though this revolution started there. So, we cannot refer to a heterogeneity of cultures or to conflicts, whether constant, manifest or underlying, since the theoretical mind and its logical reasoning have been universally accepted. Είμαστε όλοι κοινωνοί ή μάλλον συμμέτοχοι, μιας άνευ προηγουμένου επιστημονικής και τεχνολογικής έκρηξης, η οποία, (...) παρόλο που ξεκίνησε από το περιβάλλον της σύγχρονης Δύσης, οι κανόνες της έχουν αφομοιωθεί ακόμη και από πολιτισμούς που ιδεολογικά, απέκλιναν ή/και αποκλίνουν από τα δυτικά πρότυπα. Δεν μπορούμε επομένως να μιλάμε για ανομοιομορφία πολιτισμών, συγκρούσεις, συνεχείς φανερές ή υπολανθάνουσες, δεδομένου ότι τα επίπεδα του θεωρητικού νου, όσον αφορά στη λογική ανάλυση, έχουν καταστεί οικουμενικά αποδεκτά. (shrink)

Modernity’s grand plans were designed far from where we stand today. The prerogative of progress as an ideological imperative that defined colonialism as a natural balance between the ‘developed’ societies’ moral duty to rescue ‘underdeveloped’ peoples from their fate of myth and superstition created education. Education that functions as an instrument that is used to facilitate the integration of generations into the logic and aesthetics of the status quo and to bring about conformity to the hegemonic cultural form of western (...) technological consumer capitalism. This article explores whose education and for whom was it created by the imperial ideologies, not of nineteenth- or twentieth-century colonialism but for twenty-first-century western technological consumer neo-colonialism. From South Africa’s Apartheid era Liberation before education to Paulo Freire’s practice of freedom, this article questions the practices of new technologies, art and technology education at the edge of the disenfranchised. The traditional frameworks of education are on an ideological and methodological crisis worldwide. The hegemony of knowledge has ruptured away from academia. The linearity of thought has burst open as an omni-directional array. The hierarchy of authorship is contested and the audiences are becoming users and participants. As the ubiquity of information technologies, the emergence of connectedness, cheap chips and the presage of the Internet of things permeates every aspect of a particular section of people clustered in specific cities and spread out around the globe, a unique consciousness is evolving where a new collaboration paradigm is gaining a place of balance between us, nature and our technologies, our positions on social justice, and is evolving a symbiotic outlook at other cultures and societies. (shrink)

This volume has its origins in the colloquium 'Art, Politics, Technology -- Martin Heidegger 1889-1989' held at Yale University in 1989. The centenary provided the obvious occasion: regardless of whether deplored or welcomed, the far-reaching influence of Heidegger today is beyond question, an influence underscored in that centenary year by the literally scores of conferences that took place all over the world.

Artificial intelligence (AI) art is the product of AI technology applied to art. In terms of technical application, AI art has two methods: symbolism and connectivism. In terms of the human-machine system, there are three levels: human using machine, human guiding machine and human-machine separation. AI art is a special form, existing between natural beauty and human art: AI art, first of all, is not a natural aesthetic object, given that it is the product of artefacts. Its appreciation is (...) mixed with interests, and its artistic generation is a kind of “purposeful non-purposefulness.” Secondly, AI art is not equal to traditional human art, because AI has no intentionality or consciousness. Thirdly, AI participates in the construction of artistic logic and breaks the boundary of traditional art. AI can be regarded as an “agent” in art generation, and together with people constitute the “actor network” of art. The processes of generation, identification and appreciation of AI art include the judgment of true and false. AI art reflects the forced integration of intelligent technology into art, an attempt to rid of contingency, dialectics, and negativity of art. But what we need is the real harmonisation of art and technology. People should use aesthetic reason to guide AI technology. (shrink)

We tend to think of art and technology as having no important connection. What starker opposition than between the Artist and the Engineer: the irrational dreamer and the rigorous realist, the indulgent devotee of subjectivity and the austere technician? We tend not to think that engineering might be enhanced by the love of beauty, or that it is impossible to be a really good engineer without understanding art. Yet we depend on essentially aesthetic, artistic skills in engineers, the capacity (...) to feel technically and construct aesthetically. The creativity, the innovation, the invention of seriously new alternatives, is an aesthetic moment in art and technology alike. No design is ever determined by calculations or technical necessity. Choice pervades technological design, and is made, ultimately, on the basis of aesthetic invention, supplemented, of course, by careful tests. Engineering design is the analytical and imaginative synthesis of perception and technique that is also the ideal, the point, the idea of art. There is art in good engineering and good engineering in art. To stand up and last it has to be no less well put together than a bridge. (shrink)

This book explores how the practice of art, in particular of avant-garde art, keeps our relation to time, history and even our own humanity open. Examining key moments in the history of both technology and art from the beginnings of industrialisation to today, Charlie Gere explores both the making and purpose of art and how much further it can travel from the human body.

Knowledge about colour it properties, methods of fabrication, meanings, and uses has always been the purview of a wide range of individuals, from painters and architects to dyers, printers, pigment manufacturers, chemists. This volume discusses how different communities interacted with respect to knowledge and practices surrounding colour, thus contributing to a better understanding of an important current in cultural history.".

In my opinion, the so-called revolution in science and technology has virtually no influence on art.

There is something frustrating in the concept of algorithm that can even worry: its limitations. An algorithm does not need the time to define itself, it possesses in its structure everything that defines it and can work exclusively in a site, such as a computer, which is itself another finite system. Whenever a particular algorithm will be executed it will always be inexorably equal to itself because the number of possible states is finite. A logical­mathematical algorithm is essentially very different (...) from a living being that reveals its being only in the passage of time, in the relationship with the environment, in the happening of events. On the contrary there is a strong relationship between living things and the art, since art essentially needs time to express itself. The art has a time dimension, if for no other reason, because the purpose of art is reaching human beings. But art, through technology, can also broaden its horizons. Art can make use of the technology and can do exactly as the man whose expression is, to grow, to expand, to discover new identities, to conduct an investigation in those distant places, on the border with the irrational. (shrink)

The article aims to approach the concept of moistmedia and the role of art practices in contemporary culture by combining ideas about perception, technology and art, through different authors like media theorist Marshall McLuhan, philosophers Maurice Merleau-Ponty, Martin Heidegger and Vilém Flusser, and anthopologists such as Constance Classen and David Howes. Thus, if we can understand perception as the genesis of sense and meaning (Merleau-Ponty), which is also culturally shaped (Classen, Howes), understanding the very nature of technology demands (...) an understanding of the modes of perception from which it has emerged. Being able to develop art propositions which may be relevant to our moistmedia times demands an understanding of the power artworks may still have for challenging technologically shaped cultural patterns of perception, in such a way as to foster new modes of consciousness, living at risk in a world of ever-present instability. (shrink)

The twentieth century has been called the age of science. Indeed, one of its most salient features is a continuous and accelerating advance in our knowledge of nature, accompanied by progress in technology and engineering. The middle of the century witnessed a new revolution in science and technology which brought about radical changes in economic production and everyday life, which brought nature under further control on our planet and ventured into outer space. These advances in science and (...) class='Hi'>technology in an age of automation and electronic "brains," of nuclear energy and artificial satellites, exercise a growing influence on all aspects of social life, including the way in which art develops. (shrink)

By reconstructing the connections between different artistic forms, such as Art Sociologique, cybernetic, media and digital art, the paper addresses of how the concept of interactivity has evolved in relation to the development of aesthetic paradigms. Firstly, the paper problematizes the concept of interactive art, by discussing connections and differences with media and digital art. Secondly, the paper shows how Flussers’ concept of participatory media, influenced by the artistic work of Fred Forest, together with the theoretical perspective developed by members (...) of the “Group for an Aesthetics of Communication”, contributed to the development of new perspectives in interactive art. Thirdly, the paper shows how theoretical perspectives such as “Relational aesthetics” and the “Aesthetics of Communication” constituted the basis for the successive reflection on the potentialities of virtuality and immateriality from an artistic perspective. By drawing on such premises, the paper addresses the issue of the meta-operational processes involved in the use of Text-to-Image technologies (TTI), discussing the level of interactivity and the creative processes involved in its use. Finally, the paper problematizes the features of interactivity that characterize emerging forms of art made possible by virtual devices. (shrink)

Towards the end of the 1960s—a period of intense creative, technological and political changes—the Argentinian art critic and entrepreneur Jorge Glusberg founded the CAyC in Buenos Aires. CAyC was an interdisciplinary experimental project that explored the relationship between art, technology and society. It sought to articulate a network of discussions and productions by a new style of Latin American artist, deeply influenced by science, technology and society. Glusberg defined such practice as Systems Art, which appeared in three ways, (...) namely as a system of collective representation; a system of meaning that defied formal categories; and a system of relationships and processes for social inquiry. In doing so, the artist became a researcher who reflected on their social context and the latter’s processes of production. This paper will discuss CAyC’s pioneering work and its global influence through three main initiatives: its exhibitions Art and Cybernetics, Systems Art in Latin America and the International Open Encounters on Video. These events were driven by the revolutionary artistic and experimental promotion of the distinctive ways in which Latin American artists were using technology to respond to local issues at a time when computer systems and cybernetic models for management and organizational practices were being introduced across the region. (shrink)

ArgumentThis essay aims to broaden our understanding of relationships between art, science, and technology during the 1960s by juxtaposing two of the most important, and under-examined, figures of this period, the artist Gyorgy Kepes and the engineer Billy Klüver. While these two are generally linked due to their similarities, a closer examination demonstrates significant differences in their outlook. Comparing the organizations they nurtured, Kepes, the Center for Advanced Visual Studies at the Massachusetts Institute of Technology, and Klüver, Experiments (...) in Art and Technology, provides unique insight into the distinct origins of such organized collaborations between art, science, and technology. It reveals both how the cultural conditions of the 1960s contributed to the perceived need for such agencies and how interactions between art, science, and technology reflected, at once, the culmination of aspirations reaching back to the opening decades of the twentieth century, and a perceived break with the past. (shrink)

Jewish German philosopher Ernst Cassirer was a leading proponent of the Marburg school of neo-Kantianism. The essays in this volume provide a window into Cassirer’s discovery of the symbolic nature of human existence—that our entire emotional and intellectual life is configured and formed through the originary expressive power of word and image, that it is in and through the symbolic cultural systems of language, art, myth, religion, science, and technology that human life realizes itself and attains not only its (...) form, its visibility, but also its reality. Thought and being are set in opposition and united in genuine correspondence by the symbolic strife between them that Cassirer calls _Auseinandersetzung,_ which determines the ethical relationship of the self to the other. (shrink)

This essay asks whether and how a Reformational epistemology should distinguish different types of knowledge within a unified conception of knowledge as a whole. I begin with the thesis that knowledge, in its deepest meaning, is not a thing to possess but a complex relationship to inhabit. It encompasses human knowers, practices of knowing, the knowable, known results, guiding principles, and procedures of confirmation. Within this complex relationship, humans achieve insight of various sorts. After briefly distinguishing artistic from scientific knowledge, (...) I examine two other social domains of knowledge, namely, technology and religion. Taking issue with Hendrik Hart, I then argue for the religious legitimacy of propositional beliefs, provided they support genuinely religious knowledge, which is post-propositional. Knowledge, I conclude, takes on distinct contours within different social domains; some of them, like art and technology, provide pre-propositional insight, and others, like religion, offer insight that is post-propositional. (shrink)

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

This article critiques Eric Katz’s claim that technology and artifacts are intrinsically anthropocentric, and thus essentially aimed at controlling and dominating nature. Drawing on Martin Heidegger’s philosophy of technology, I argue Katz’s position is founded on a narrow ‘means-end’ concept of technology. Building on Heidegger’s work, I propose rethinking technology through the broader ancient Greek concept of techne. I then claim the concept of techne enables us to develop an understanding of technology that is not (...) intrinsically anthropocentric and dominating. Finally, I argue an analysis of art provides a model for this non-anthropocentric concept of technology. (shrink)

This book offers intriguing philosophical inquiries into biotechnological art and the life sciences, addressing their convergences as well as their epistemic and functional divergences. Rooted on a thorough understanding of the history of philosophy, this work builds on critical and ontological thought to interpret the concept of life that underscores first-hand dealings with matter and experimentation. The book breaks new ground on the issue of animality and delivers fresh posthumanist perspectives on the topics addressed. The authors embark on a deep (...) ontological probe of the concept of medium as communication-bridging and life-bearing. They also take on the concept of performativity as biotechnological art. The book includes concrete, well-documented case studies and shows how certain narratives and practices directly impact ideas surrounding science and technologies. It will interest philosophers in art and technology, aesthetics, ontology, and the life sciences. It will also engage art practitioners in art and science, curators and researchers. (shrink)

How is technology changing the way people remember? This book explores the interplay of memory stored in the brain and outside of the brain, providing a thorough interdisciplinary review of the current literature, including relevant theoretical frameworks from across a variety of disciplines in the sciences, arts, and humanities. It also presents the findings of a rich and novel empirical data set, based on a comprehensive survey on the shifting interplay of internal and external memory in the 21st century. (...) Results reveal a growing symbiosis between the two forms of memory in our everyday lives. The book presents a new theoretical framework for understanding the interplay of internal and external memory, and their complementary strengths. It concludes with a guide to important dimensions, questions, and methods for future research. Memory and Technology will be of interest to researchers, professors, and students across the disciplines of psychology, philosophy, library and information science, human factors, media and cultural studies, anthropology and archaeology, photography, and cognitive rehabilitation, as well as anyone interested in how technology is affecting human memory. _____ "This is a novel book, with interesting and valuable data on an important, meaningful topic, as well as a gathering of multidisciplinary and interdisciplinary ideas...The research is accurately represented and inclusive. As a teaching tool, I can envision graduate seminars in different disciplines drawing on the material as the basis for teaching and discussions." Dr. Linda A. Henkel, Fairfield University "This book documents the achievements of a vibrant scientific project – you feel the enthusiasm of the authors for their research. The organization of the manuscript introduces the reader into a comparatively new field the same way as pioneering authors have approached it." Prof. Dr. Wolfgang Schönpflug, Freie Universität Berlin. (shrink)

This study aims to improve the effectiveness of English grammar teaching in high school. Firstly, the Science, Technology, Engineering, Art, and Mathematics (STEAM) educational model is comprehensively discussed. Then, the current situation and difficulties of English grammar teaching in high school are analyzed. Finally, based on the traditional and the STEAM teaching mode, a comprehensive study on the psychological motivation of students is carried out in high school English grammar teaching. The traditional teaching model had little effect on students’ (...) psychological motivation in the process of English grammar teaching. Therefore, students’ satisfaction with English grammar teaching under the traditional teaching model is very low, especially in innovation and practice. The STEAM teaching model has greatly improved the psychological motivation of high school students in the English grammar teaching process. The overall satisfaction rate of the students with the English grammar teaching in the STEAM teaching model is 70%. This teaching model can greatly improve students’ requirements for innovation and practice. This study not only provides a reference for the improvement of English teaching in high schools but also contributes to the reform and development of education. (shrink)

This paper explores the relationship between the development of art and sport in the Arabian Peninsula. In particular, it will be argued that both sport and art can be understood in terms of a trajectory from the ‘modern’ to the ‘contemporary’. Modernity and modernism are introduced through an interpretation of Paul Delaunay’s series of paintings ‘The Cardiff Team’ (1912–22) which may be read as an expression of modernity. The content of the paintings documents core elements of European modernist culture, including (...) technology and science, leisure, consumerism and advertising, and crucially (international) sport. Delaunay’s work provides a background from which to reflect upon the development of sport into something like its contemporary form, in early 20th Europe. By drawing on Terry Smith’s analysis of the difference between modern and contemporary art, and applying this to sport, in order to suggest that there is a distinctive contemporary form of sport, the core tensions within both artistic and sporting practices are argued to lie in the movement from a conception of sport as an expression of modernity, where this is conceived as a universal movement, exemplified by Western humanism, towards a conception of sport as something particularised, expressive of local cultures. The promotion of art institutions and sports events within the Arabian Peninsula highlights the resultant tensions between the neo-colonial influence of Western culture and the reinterpretation of that culture, locally, in order to reflect upon and articulate communal identity within the contexts of globalism and transnationalism. (shrink)

Realities of the formed information society made actual for inclusive education a problem of formation of professionals of the new directions capable to apply information technologies to improvement of interaction between participants of process of distance learning. Until recent time the institute of distance learning had no analogs in our educational system. It has to become one of the most important elements of the organization of remote education. Inclusive education becomes the new strategic direction of modern education in Russia, its (...) program of development to 2020 is designated by the Federal law ‘About the education in the Russian Federation‘ which has come into force on September 1, 2013. Ideas of inclusive training were born from a pressing need of society to help children to be integrated with features of development into society. Without it a creation of a new civilized society, the education system that meets the requirements of the humanistic principles is not possible. In this connection, creation of a substantial and technological basis of the organization of inclusive education of children in the mode of distance learning is an extremely important for today social, moral and pedagogical problem. In its center are the development of the subject, granting equal opportunities to each pupil to build the individual educational trajectory, culturological cultivation of the person capable to take an independent position in relation to external conditions. Distance learning serves as strong and active technology of socialization of such children. However, in the theory and a technique of training, the problem of distance learning of children with disabilities is insufficiently solved that is caused by unavailability of most of teachers to apply these technologies. There is a contradiction between objective practical need of distance learning for children with disabilities and insufficient readiness of a theoretical and technological basis. This is a main problem discussed in the study. In theoretical plan, it is a problem of development of the practical-focused theoretical and technological basis of distance learning of children with disabilities. On the practical level, it is a problem of formation of the subject information and education environment, designing of the contents, definition of methods, pedagogical technologies, the conditions of formation promoting achievement of the planned educational results and development of cognitive independent activity without prejudice to health of children on the basis of the accounting of their individual abilities. Technological effectiveness of the purposes is provided with prediction of educational results, their expression through requirements to actions of pupils. Recent time, children only start studying and mastering remote technologies therefore, first of all, they have to seize rational ways of educational activity and learn to work with information, i.e. priority value has to be allocated for formation of informative and logical and informative and information universal educational actions. (shrink)

In this paper, to solve the problem of slow design of arts and crafts and to improve design efficiency and aesthetics, the existing big data and 3D technology are used to conduct an in-depth analysis of the optimization of the rapid design system of arts and crafts machine salt baking. In the system requirement analysis, the functional modules of this system are identified as nine functional modules such as design terminology management system and external information import function according to (...) the actual usage requirements. In the system design, the overall structure design, database design, and functional module design of the system are comprehensively elaborated, and the key issues such as 3D display and home layout generation algorithm based on reinforcement learning are analyzed and designed. In the implementation part of the system, the overall construction of the system and the composition of functional modules are introduced in detail and the main functional modules of the system are presented with interface diagrams. In the system implementation part, the overall system construction and functional module composition are introduced in detail, the main functional modules of the system are shown with interface diagrams, codes, and algorithms, and the specific implementation process of 3D display and soft layout algorithms are also explained in detail. The process of Surface Mount Technology big data processing and analysis is designed, and the design of SMT production line data collection scheme and real-time data processing architecture is completed. Based on the characteristics of SMT production line data, the K-means algorithm is used to detect data outliers and verify the accuracy of the method; also, the Spark-based association rule printing parameter recommendation model is designed, and the efficiency of the Apriori algorithm is significantly improved by parallelization. (shrink)

Science and Technology Ethics re-examines the ethics by which we live and asks the question: do we have in place the ethical guidelines through which we can incorporate these developments with the minimum of disruption and disaffection? It assesses the ethical systems in place and proposes new approaches to our scientific and engineering processes and products, our social contacts, biology and informatics, the military industry and our environmental responsibilities. The volume is multidisciplinary and reflects the aim of the book (...) to promote a state of the art assessment of these issues. Science and Technology Ethics is a much-needed discussion of the scientific developments that have major effects on the way we live. It will be of interest to all students of science and technology and all professionals involved with administrating laws in these fields. (shrink)

Recent science and technology studies have analyzed questions of nonexpert participation in science, technology, and science policy from an empirically grounded perspective. The introduction to this special issue offers a double contribution to this debate. First, it presents a summary of the state of the art and an outline of the historical emergence of the participatory question. The argument distinguishes four periods since the late nineteenth century, each with a specific relationship between expert and nonexpert knowledge ranging from (...) a hybrid, to a politicized, to an autonomous, to a participatory relationship. Second, the introduction summarizes the contributions to this issue. Their common concern is to take the debate one step further by critically reflecting the problems and limitations of participatory practices. The contributions point out the need for contextualizing the participatory question within the wider social, economic, and political circumstances in which participatory science and technology is set. (shrink)

This book presents a new and radical interpretation of some of Martin Heidegger’s most influential texts. The unfamiliar interpretations all seek to question and unframe hasty assessments of the concepts and constellations of thoughts surrounding Heidegger’s notion of modern technology.