art and technology essay

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Beyond the Canvas, Technology’s Influence on Modern Art

Living in Boston during the early aughts, I attended an unusual art exhibition that now feels prescient. Installed throughout the gallery were these stations where people could arrange objects into different configurations on platforms in front of cameras. The items were random, colorful things like a yellow fuzzy ball or a red plastic pail. These still-lifes were then “interpreted” by a computer that spat out textual responses to the visual prompts. The computer-generated “poems” were mostly gibberish. Every now and then though, an uncanny lucidness developed in them, only to fall back into nonsense. I didn’t like the idea of machines making art then anymore than I do today. But as an artist and writer, I feel the need to address the subject now that it has become more pressing. 

There’s been much discussion lately about the many ways artificial intelligence (AI) will radically alter our lives, our politics, and civilization as a whole. Much of the discourse is drowned out either by utopian prattle from cultish technologists or by dystopian dross from neo-Luddite naysayers. Don’t get me wrong: I aim to neither celebrate nor denounce AI. I have reservations about such brave new technologies. If you ask me, the jury’s still out on the Internet. Sure, it helped to make the world feel a little more like a global village for a few decades, but at what cost? Our democracy? From Obama to Trump, it’s easy to see how the positive (hope and change) and the negative (hate and fear) can become so closely juxtaposed with a jolt from the high-tech. How will more recent technologies like AI and Deepfakes further complicate our culture? 

If it wasn’t for an earlier disruptive technology , modern painting may have never arrived at abstraction. A few decades after the advent of photography in the first quarter of the nineteenth century, a loose group of French painters began making pictures that went beyond photographic clarity. Impressionists sought to capture the activity of seeing itself, opting for a more gestural look over the crystal-clear focus of photography. 

Following Impressionism, late-nineteenth and early-twentieth century European art became awash with painterly -isms: from pointillism and symbolism, expressionism and fauvism, to constructivism and cubism, futurism and surrealism, new painting styles kept popping up every few years. It was just a matter of time before the European avant-garde arrived at pure abstraction or non-representational pictures that do not depict things found in life. From interwar Europeans like Malevich and Mondrian to postwar Americans like Pollock and Rothko, abstraction became one of the most important developments in modern art. 

Something similar will no doubt happen in the near future with AI: artists will try to figure out ways to create things that computer-generated images cannot, forging as yet unforeseen art forms. Others will work with the new technology. Impressionists like Degas used photographs as sketches for their paintings. Before the second half of the nineteenth century, painters almost always centered their subjects in the middle of their canvases, as with Leonardo’s Mona Lisa . Nobody ever thought to crop out a figure, like one of Degas’ bathers, until a snapshot of such a moment revealed how abrupt truncation can dramatically alter a composition. AI will surely lead contemporary artists to make similar discoveries. 

Something about that exhibition in Boston reminded me of Dada and Surrealism, the interwar European avant-garde art movements that prized the irrational and the unconscious. The interplay between image, object, and text were of great interest to the Surrealists who invented the Exquisite Corpse , a parlor game where several participants collectively create a graphical or textual composition based on a few marks or words left by the previous person. Each player folds over most of what they add, leaving only a few hints–trace marks or dangling words–for the next person to build upon. Like the  “poetry”-generating machines in the gallery back in Boston, the end results were more often than not absurd and meaningless. But every now and then one would border on something like a great work of art, or at least a really good sketch for one. Why couldn’t a computer take part in this activity? 

AI-generated art has a harbinger with the Dadaists too, who, like the Surrealists, rejected aesthetics, logic, and reason. As is well known, Marcel Duchamp submitted a common urinal turned on its side as his entry for the 1917 exhibition by the Society of Independent Artists at the Grand Central Palace in New York City. Outside of an enigmatic signature scrawled along its side (“R. Mutt 1917”), there is no trace of the artist’s hand on this machine-made, mass-produced, quotidian apparatus. Fountain was ultimately denied a place in the show, the original lost forever ( and perhaps not even by Duchamp. ) A few later versions were authorized by the artist over the course of his career. Yet, through photographic documentation (the best of which was shot by Alfred Stieglitz soon after the Society of Independent Artists show) and textual documentation in the form of endless references in art history and art theory publications, Fountain has become firmly ensconced as one of the landmark works of twentieth-century art. 

By placing a piece of plumbing on a pedestal, Duchamp figuratively knocked the artist off their own. If a found object—a porcelain urinal, in this case—may act as a prompt for philosophical discussions about art, was Duchamp not instigating a sort of low-tech, proto-AI-generated artform? Duchamp’s gesture helped turn the tide away from what he referred to as “ocularcentric” art, or art that stimulates the eye but not necessarily the mind, such as abstraction. This shift away from aesthetics and formalism towards the more theoretical would come into full bloom during the American postwar neo-avant-garde of the 1960s. What makes a work of art a work of art? Is it whatever the artist might select from a sea of images and objects? Does this not make the artist more of an editor or curator? If so, how different is the artist from the selector of prompts used in generative AI? Regardless of what the layperson may think about a urinal passing as a work of art, Duchamp radically altered the course of modern art history and helped to usher in what is now known as postmodernism. Rather than aesthetic appreciation, philosophical contemplation supports the Duchampian legacy, still very prevalent in contemporary art. 

What are the ethical ramifications of generative AI? The winner of this year’s Sony World Photography Award turned down the prize in April after revealing his entry was generated by artificial intelligence and thus not a true photograph. German artist Boris Eldagsen intentionally deceived the award organizers with Pseudoamnesia: The Electrician , an eerie black and white picture depicting two women huddled together, “captured” in a grainy, classic sepia. On his website, Eldagsen describes his Duchampian ruse as a “historic moment,” adding: “I applied as a cheeky monkey, to find out if the competitions are prepared for AI images to enter. They are not.” 

What if AI displaces human workers in the creative sector? From last May until early October, the Writer’s Guild of America (WGA) was on strike against the Alliance of Motion Picture and Television Producers. It was the longest interruption to American film and television production since the global closure due to the COVID-19 pandemic in 2020. Representing 11,500 screenwriters, WGA fought for, among more traditional disputes concerning pay models and benefits, protections against writers’ jobs being lost to AI. 

As technologies created to create without creators continue to advance, this issue will become more complicated. Nonetheless, there will likely remain the need for at least some humans to make the initial prompts that AI responds to and later edit certain passages that don’t quite read correctly. Machines are still imperfect. I am not only pro-human, I am pro-union, and my heart went out to the workers during the strike. Yet, I can’t help but think that much of the formulaic drivel that finds its way into scripts for movies and TV shows feels as though it was churned out by a machine anyway. 

The fact is, computer-generated art isn’t new and isn’t going anywhere. Algorithmic art , fractal art , and glitch art all employ the computer to create unpredictable visual outcomes and have been around for some time. When taking photos on your smartphone you have likely used the technology without even knowing it, as AI is increasingly baked into digital photography, helping to reduce visual noise and sharpen blurry photos. Most camera phone users care less about the art of photography than about taking selfies or “pics” of friends and family doing funny things to upload to social media. 

In his essay on the subject, “ On AI and the Intrinsic Value of Writing ,” Maryland Institute College of Art professor of creative writing and literature Paul Jaskunas asks, “If a computer endowed with ‘artificial intelligence’ can produce a more grammatically sound, deeply researched, and convincing essay than you can, and is able to do so faster than you ever possibly could, why not rely on the machine to do your writing for you?” By shifting the pedagogy to emphasize the process of writing over its end product, Jaskunas posits that AI may actually aid his profession as composition teachers will be able to impart how the act of writing itself is meaningful and rewarding. Like photography in the visual arts, disruptive technology may help us to paint and see, write, and read in new ways.

Work by the Turkish-American new media artist Refik Anadol (b. 1985) offers a sneak peek into the wild new forms generative AI may take in the future. His show Unsupervised , on view at MoMA through October 29th, asks the question: “What would a machine dream about after seeing the collection of The Museum of Modern Art?” By programming a computer to interpret the publicly accessible database of the museum’s holdings, Anadol creates mesmerizing moving pictures that undulate into nearly recognizable images only to fall back into abstract compositions, which then quickly morph into… Well, something else . By using other artist’s work as prompts to inform the creation of his own animated abstractions, Anadol synthesizes the two main threads of twentieth-century art: the pre-existing art from the database acts like found objects or Duchampian “Readymades,” providing a conceptual framework, while the final “movies” satisfy our aesthetic needs with lava-lamp-like enchantment. “I am trying to find ways to connect memories with the future,” the artist said, “and to make the invisible visible.” With exhibitions like Unsupervised , we catch a small glimpse of the future, a future that may appear wild, but not totally untamable. 

Editor’s Note: Artblog articles covering A.I.:

Clayton Campbell –  A Short Walk Through the Uncanny Valley of A.I. Art

Ruth Wolf –  Artificial Intelligence and ‘Your Brain on Art,’ thoughts on two provocative topics

Lane Timothy Spiedel – The Imitation Game – An Artist’s Role in Latent Space

Beth Heinly – The 3:00 Book

Oli Knowles – Socialist Grocery

Article Update: Refik Anado’s  Unsupervised – Machine Hallucinations has been purchased by MoMA

What Others Are Reading...

Artificial Intelligence and ‘Your Brain on Art,’ thoughts on two provocative topics

‘The Illuminating Sap,’ pleasure for all at Atelier Art Gallery

A Short Walk Through the Uncanny Valley of A.I. Art

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The Growing Relationship between Art and Technology

25 Nov 2019

Art and technology have a complex but meaningful history of working together and influencing one another. In many ways, they have evolved alongside each other to arrive at their place in the world today; a digital age where they constantly overlap and portray new ideas. Christie’s Education discusses how the innovations in technology have directly impacted the art world, and will continue to do so in the years to come.

Innovations in Art

With every new evolution in technology, art changes too. However, this doesn't just apply to their production. The way art is viewed, shared, consumed and subsequently sold is constantly transforming too. Technology has made art far more accessible. Just like with countless other aspects of modern life, the internet has allowed art to be consumed in a more direct way, opening the industry to a wider and more diverse audience. Museums showcase collections online, and artists have all the tools they need at their fingertips to promote and sell their own pieces – often without the challenges that come with running a physical exhibit.  It’s clear that the relationship between art and technology has led to many exciting new pieces and techniques. Significant innovations from the past couple of decades include:

AI-Generated Art

Is Artificial Intelligence the next great Art Movement ? Although experts attempt to keep us in check and suggest the revelation is still in its infancy, it’s hard not to appreciate this extraordinary innovation in the art world. Blurring the line between human and machine, AI-generated art offers us a new kind of unorthodox creativity. However, new findings do not come without hesitance. Some argue that art generated through computer science is definitely not art, or creative. Nevertheless, the example image above created by Mario Klingemann, show us artists are continuing to experiment, combining art and technology further, as one.

Blockchain technology has multiple purposes for the art world, and has the potential to make an even more significant impact. In a 2014 report, The Fine Arts Expert Institute (FAEI) found that over 50% of the artworks it had examined were either forged or not attributed to the correct artist. The rise of blockchain can help change this and maintain the all-important authenticity in the industry.   We spoke with Anne Bracegirdle, Senior Director, Pace X about the core applications of Blockchain technology ahead of the upcoming Art and Tech: Blockchain course which she is teaching on at Christie's Education, New York on December 10.  What is blockchain art?

Interestingly, “blockchain art” isn’t quite an accurate phrase. I’m happy to outline the different ways blockchain is utilized by artists, however, to help readers understand the correct questions to ask.  “Blockchain art” may refer to physical artworks that are tokenized. More likely, it may refer to digital art, which has the capacity to be editioned on a blockchain via a ‘hash,’ the equivalent of a digital identity (digital art can take the form of TIF files, gifs, jpegs etc.). Artists are also using blockchain as a medium -- notable examples are Kevin Abosch’s project IAMA Coin and his collaboration with Ai Wei Wei called Priceless . Artists can use blockchain to fractionalize (or divide) their work into pieces, each of which can be owned separately. I encourage your readers to look into the P ublic Key/Private Key project at the Whitney Museum for a great example of how fractionalization can create new forms of ownership. Finally, blockchain is being utilized for crypto-collectible trading platforms like CryptoPunks and CryptoKitties .    How can you sell art on a blockchain?

Blockchain technology is currently being used to edition and sell digital art via digital art marketplaces, however these platforms aren’t yet mainstream. To access them, one needs to understand how to use a digital wallet and cryptocurrency. Once these selling platforms start accepting Fiat currency, I think more people will feel comfortable trading digital art. There is an opportunity here to educate people on how to buy digital art, how to access a blockchain, and how to think about digital scarcity. I believe this education is necessary for digital art to become more mainstream. Secondly, there are opportunities to use blockchain platforms to simplify the trading of physical artwork, and create industry-wide title registries. To move forward with this solution, however, the industry must decide how to connect the physical works to a blockchain registry, and there are a number of companies creating solutions currently. It’s my belief that the data must be connected to the property for a solution to function as a true supply chain. We will also have to agree upon which registry to use, and this decision-making may require the formation of an art world consortium.    How can you sell blockchain art? 

The real success in utilizing blockchain will arise when trusted industry leaders and experts reach a consensus on the platforms we should utilize. Blockchain provides the opportunity for competitors to share data while maintaining institutional and personal privacy, which would simplify our clients’ lives dramatically. The increased transparency and available data would also make our industry more accessible to more people. To get there, however, our first step is to agree upon an industry provider, or providers with interoperable platforms. Find out more about blockchain and art on our upcoming course in New York Art and Tech: Blockchain which takes place on December 10. 

Virtual Reality

Using headsets and technologies, including hardware like the Oculus Rift and Google Glass, institutions and artists are experimenting with virtual reality to create and share dynamic and immersive art experiences. Developing these three-dimensional and simulated environments is potentially one of the most exciting innovations in art, particularly for the consumer. In many ways, it has completely transformed the creative experience. 

On the opposing side, there are concerns across the art world as to who owns the pieces. For instance, if created with Tilt Brush, artists own their work, but Google retains a worldwide license to reproduce or modify the work for promotion or development on their own platforms. In reality, there are bound to be teething issues with such a new piece of technology. These are likely to be ironed out as the industry gets up to speed with the rate that technology is progressing. It is evident that the art landscape is undergoing a drastic transformation as it enmeshes with technology. These two disciplines may seem different or contradictory – however, we have shown that there is a lot that binds these two together. With rapid new advancements in technology and shifting perception of art in both its artists and consumers, we can expect to see exciting new developments over the coming decades, and a better understanding of how these will affect the creative world as a whole. 

ARTS & CULTURE

7 ways technology is changing how art is made.

Technology is redefining art in strange, new ways. Works are created by people moving through laser beams or from data gathered on air pollution

Randy Rieland

Where would the Impressionists have been without the invention of portable paint tubes that enabled them to paint outdoors?  Who would have heard of Andy Warhol without silkscreen printing? The truth is that technology has been providing artists with new ways to express themselves for a very long time.

Still, over the past few decades, art and tech have become more intertwined than ever before, whether it’s through providing new ways to mix different types of media, allowing more human interaction or simply making the process of creating it easier.  

Case in point is a show titled “Digital Revolution” that opened earlier this summer in London’s Barbican Centre. The exhibit, which runs through mid-September, includes a “Digital Archaeology” section which pays homage to gadgets and games that not that long ago dazzled us with their innovation. (Yes, an original version of Pong is there, presented as lovable antiquity.) But the show also features a wide variety of digital artists who are using technology to push art in different directions, often to allow gallery visitors to engage with it in a multi-dimensional way.

Here are seven examples, some from “Digital Revolution," of how technology is reshaping what art is and how it’s produced:

Kumbaya meets lasers

Let’s start with lasers, the brush stroke of so much digital art. One of the more popular exhibits in the London show is called “Assemblance,” and it’s designed to encourage visitors to create light structures and floor drawings by moving through colored laser beams and smoke. The inclination for most people is to work alone, but the shapes they produce tend to be more fragile. If a person nearby bumps into their structure, for instance, it’s likely to fall apart. But those who collaborate with others—even if it’s through an act as simple as holding hands—discover that the light structures they create are both more resilient and more sophisticated. “Assemblance,” says Usman Haque, one of the founders of Umbrellium, the London art collective that designed it, has a sand castle quality to it—like a rogue wave, one overly aggressive person can wreck everything.

And they never wet the rug

Another favorite at “Digital Revolution” is an experience called “Petting Zoo.” Instead of rubbing cute goats and furry rabbits, you get to cozy up to snake-like tubes hanging from the ceiling. Doesn’t sound like fun? But wait, these are very responsive tubes, bending and moving and changing colors based on how they read your movements, sounds and touch. They might pull back shyly if they sense a large group approaching or get all cuddly if you’re being affectionate. And if you’re just standing there, they may act bored. The immersive artwork, developed by a design group called Minimaforms, is meant to provide a glimpse into the future, when robots or even artificial pets will be able to read our moods and react in kind.

Now this is a work in progress

If Rising Colorspace, an abstract artwork painted on the wall of a Berlin gallery, doesn't seem so fabulous at first glance, just give it a little time. Come back the next day and it will look at least a little different. That’s because the painting is always changing, thanks to a wall-climbing robot called a Vertwalker armed with a paint pen and a software program instructing it to follow a certain pattern.

The creation of artists Julian Adenauer and Michael Haas, the Vertwalker—which looks like a flattened iRobot Roomba —is constantly overwriting its own work, cycling through eight colors as it glides up vertical walls for two to three hours at a time before it needs a battery change. “The process of creation is ideally endless,” Haas explains.

The beauty of dirty air

Give Russian artist Dmitry Morozov some credit—he’s devised a way to make pollution beautiful, even if his purpose is to make us aware of how much is out there. First, he built a device, complete with a little plastic nose, that uses sensors which can measure dust and other typical pollutants, including carbon monoxide, formaldehyde and methane. Then, he headed out to the streets of Moscow. 

The sensors translate the data they gather into volts and a computing platform called Arduino translates those volts into shapes and colors, creating a movie of pollution. Morozov’s device then grabs still images from the movie and prints them out. As irony would have it, the dirtier the air, the brighter the image. Exhaust smoke can look particularly vibrant.

Paper cuts you can love

Eric Standley, a professor at Virginia Tech, is one artist who doesn’t use technology to make the creation process simpler. Actually, it’s just the reverse. He builds stained glass windows, only they’re made from paper precisely cut by a laser. He starts by drawing an intricate design, then meticulously cuts out the many shapes that, when layered over one another, form a 3-D version of his drawing. One of his windows might comprise as many as 100 laser-cut sheets stacked together. Standley says the technology allows him to feel more, not less, connected to what he’s creating. As he explains in the video above, “Every efficiency that I gain through technology, the void is immediately filled with the question, 'Can I make it more complex?'” 

And now, a moving light show

It’s one thing to project laser light onto a stationary wall or into a dark sky, now pretty much standard fare at public outdoor celebrations. But in an art project titled “Light Echoes,” digital media artist Aaron Koblin and interactive director Ben Tricklebank executed the concept on a much larger scale. One night last year, a laser they mounted on a crane atop a moving train projected images, topographical maps and even lines of poetry into the dark Southern California countryside. Those projections left visual “echoes" on the tracks and around the train, which they captured through long-exposure photography.  

Finding your inner bird

Here’s one last take from the “Digital Revolution” show. An art installation developed by video artist Chris Milk called “Treachery of the Sanctuary,” it’s meant to explore the creative process through interactions with digital birds. That’s right, birds, and some are very angry. The installation is a giant triptych, and gallery visitors can stand in front of each of the screens. In the first, the person’s shadow reflected on the screen disintegrates into a flock of birds. That, according to Milk, represents the moment of creative inspiration. In the second, the shadow is pecked away by virtual birds diving from above. That symbolizes critical response, he explains. In the third screen, things get better—you see how you’d look with a majestic set of giant wings that flap as you move. And that, says Milk, captures the instant when a creative thought transforms into something larger than the original idea.

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Randy Rieland | | READ MORE

Randy Rieland is a digital media strategist and contributing writer in innovations for Smithsonian.com.

Art and Technology

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• Andrew Murphie &
• John Potts  

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We lay a special emphasis on art in this book for a number of reasons. Contemporary artists are quick to explore the potential of new technologies, which are often used in surprising ways. The cultural ramifications of technology are often examined in artistic works. Several commentators, including McLuhan, have regarded artists as the ‘antennae’ of society, foreshadowing in their art the social impact of technological change. And the history of art is, after all, also a history of technology. All art employs technology of some kind, whether the materials of visual art, or the instruments used to create music, or the structures and materials of architecture, the art most readily associated with the shaping of technological form.

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Murphie, A., Potts, J. (2003). Art and Technology. In: Culture and Technology. Palgrave, London. https://doi.org/10.1007/978-1-137-08938-0_3

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The relationship between Art and Technology

2018, University of Languages and International Studies

Since the early dawn of human civilization, there has always been a desideratum in our intrinsic nature to search for means of recreation and ways of expressing ourselves, our individualities and turbulent thoughts. And from that burning need and desire, all art forms are born and nourished. From primitive paintings of animals in caves to the dusky skies and swirling waters of Vincent Van Gogh’s masterpieces, every work of art is to unbridle the spirit and mind. And yet, today, for the first time in the entire existence of humanity, people are experiencing surges of unimaginable technological transformation in every aspect of life that may as well forever change our perception of “Art”. In such a world, perhaps people should start questioning the connection between these two seemingly distant domains, and ask themselves whether they are made from the same fiber of the being of humankind.

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The Intersection of Technology and Art

Art and technology have been inseparable right from time. From the Stone Age through the metal age, to the industrial age, the degree of artistic expression has always been subject to available and prevailing technology. 

Technology and art have since shared a simple yet dependent relationship. To some, art and technology may seem opposites but they are interconnected now more than ever with technology pushing artists to be more creative and expanding artistic creativity through digital arts, blockchain arts, virtual reality etc 

“Like art, technology is a lofty expression of human creativity. “

A quote from The Winding Passage

Technology and art over time have evolved with overlaps, especially in the digital era, what’s more interesting – arts generated by computers have emerged in diverse forms and come to be known under various umbrellas.

Revolt against Technology and Art – Arts & Crafts Movement

To understand the relationship between art and technology is to uncover a dynamic of activities set in the 19th century – the arts & crafts movement. This movement began as a response to industrialized arts, put correctly, arts made with technology. Whilst this period had been heralded by artists and architects alike, they unanimously agreed art and artistic expression should be strictly based on craftmanship, handwork and crude concepts negating technology as a tool for propagating art. It was both a social and artistic movement built on tenets of craftmanship, individualism and regionalism. Perhaps, this movement became the motivating factor for future avant-garde movements of technology and arts such as Art Nouveau, Art Deco and the eventual rise of the most influencing artistic/architecture school – Bauhaus. 

The revolt against technology and art had been championed by artists from different walks of life; among them was architect Augustus Pugin, John Ruskin – a writer, and William Morris – a sculptor and artist etc. events such as a decline in artistic standards as evident by the Great Exhibition of 1851 had spurred the birth of this movement; art and work of art had been described as too artificial, ornate and mechanized neglecting the supposed core belief of arts – naturality, craftmanship and beauty; technology had been blamed for this stripping arts of its originality. The result – a nostalgia for medieval age art and handwork arose creating a desperation for separation between technology and arts hence, the movement was born. Arts during this period peaked with characteristics of naturality, vernacular, detail and material truthfulness but at the cost of supply and utilitarian value. 

An increase in demand meant more manpower which could not match up. Their rejection of new-age mechanization and technology for art’s sake became the undoing of the arts and crafts movement. The result – an art that is detailed and skillfully made but only in short supply hence only available to a small percentage of the population and affordability defined by the highest bidder. Without technology, art becomes lost.   

Artificial Intelligence

In recent times, artificial intelligence (AI) has promoted the fusion of technology and art thereby broadening the scope of creativity. Growing (and fully developed) sectors employ AI to foster creativity although, there have been concerns about AI lacking in the area of emotional intelligence. Another concern revolves around the possibility of AI displacing human artists and creators. Thanks to AI, technology can operate in a deeper realm of creativity. Areas of visual arts , performing arts, Literature and music have witnessed a change with the introduction of AI. The introduction of the General Adversarial Network (GAN) by Ian Goodfellow in the area of deep learning and artificial neural networks to generate lifelike realistic images has also revolutionized the visual arts. 

To further push the boundary of creativity through technology and art, AI subfields such as NLP (Natural Language Processing) have introduced GPT- 4 in a series of text generation and research algorithm systems. This initiative like its predecessors has opened up the world of literature and literary arts to endless possibilities. Other common initiatives such as Quillbot are good research and text organizing tools. It is noteworthy to state that with growing concerns about the usefulness of AI in arts and as a technical tool, the future of AI is yet unknown but its continued existence is established – for a fact. Going on, works are currently ongoing to increase human – AI collaboration while pushing the creative limits; the future of technology and art may be yet fully formed but the pivotal role of AI moving on is fixed.

Virtual Reality

Perhaps the earliest traces of art in virtual reality date back to the 20th century during the experimentation of immersive environments using optical illusions by artists and inventors alike. Virtual Reality (VR) art is a creative expression method that uses technology to allow people to engage with computer-simulated surroundings. These surroundings could be real or imagined. Virtual Reality has progressed beyond gaming and entertainment. VR art has come to incorporate technology and art; in a series of events unfolding recently, artists are using VR and VR-simulated mediums to create and display artistic pieces. Immersive and interactive walkthrough art experiences have been taking place globally. The “Van Gogh experience” is a virtual tour through the life and art of Van Gogh being on display in several cities around the world including Paris , Berlin & Toronto. 

A major change in aesthetics has been brought about by virtual reality (VR) as an art form. Conventional artistic mediums such as painting and sculpture concentrate on stationary, material items, while virtual reality art presents viewers with a dynamic and absorbing experience. The lines separating the viewer from the artwork are thereby blurred, opening up new avenues for artistic expression and interaction. Because VR art is so transformative, new artistic genres have been explored, stretching the boundaries of creativity in previously unthinkable ways.

3D Printing

Three-dimensional printing like other intersections of technology and art have found use away from industrial purposes. The sculpting process is easier and faster; large moulds can be 3d printed in no time and fashioned to precision and utmost detail. At the expense of limitless geometric construction, artists and sculptors get the leeway needed – size no longer poses a threat. The 3D art process is both procedural and iterative but does not neglect the artistic inputs; based on CAD data, 3D printers can produce direct, immediate results allowing the artists to digitally transform idea creation to execution and eventual output.

The authenticity of art is a heavily debated discourse in 3D printing , some art scholars argue that “industrial production” (in this case 3D printing) strips art of its regional identity and authenticity. Sounds familiar? Yes. The arts and crafts ideal. There is a growing body of research work to counter this making a case for digital authenticity and originality in arts. 

Technology and art are indispensable to both entities. Art yearns for expression through a medium created by available technology. With progress in technology and civilization, art is made more evident and brought closer to non-artists. What’s more? Technology is proving to redefine “who” an artist is. With each progress, The identity of an artist is less restricted to traditional artistic prowess and expanded to mean even more.

References:

Anon, (2023).  Virtual Reality and the Future of Art Exhibitions . [online] Available at: https://artsartistsartwork.com/virtual-reality-and-the-future-of-art-exhibitions/ .

Anon, (n.d.).  Is Virtual Reality An Art Or Can It Be Used To Create Art – Draw & Code . [online] Available at: https://drawandcode.com/learning-zone/is-virtual-reality-an-art/

Cottonbro Studio (2021). Artificial Intelligence [Photograph]. 

Knight Foundation. (n.d.).  Navigating the intersection of art and technology . [online] Available at: https://knightfoundation.org/articles/navigating-the-intersection-of-art-and-technology/ .

Merigan, N. (2023).  AI and Creativity: The Intersection of Art and Technology . [online] Pss Blog. Available at: https://www.pranathiss.com/blog/ai-technology-intersection/ .

Ruan, Y. (2022). Application of Immersive Virtual Reality Interactive Technology in Art Design Teaching.  Computational Intelligence and Neuroscience , 2022, pp.1–12. doi: https://doi.org/10.1155/2022/5987191 .

Shivam, H. (2019). Virtual Reality. [Photograph]. (Hyderabad, Telangana, India)

Shkraba, A. (2019). Art and Technology. [Photograph].

Siegfried. P. (2023). Bauhaus School of Design. [Photograph] (Dessau-Roßlau, SA, Deutschland)

Team, B. (2023).  Exploring the Intersection of Art and Technology . [online] CIIT Philippines School – Multimedia Arts, Web Design, 3D Animation, Mobile Game Development. Available at: https://www.ciit.edu.ph/exploring-the-intersection-of-art-and-technology/ .

Tissen, L.N.M. (2022).  3D Printing and the Art World: Current Developments and Future Perspectives . [online]  www.intechopen.com . IntechOpen. Available at: https://www.intechopen.com/chapters/85319 .

Voxeljet. (n.d.).  3D printing in art . [online] Available at: https://www.voxeljet.com/additive-manufacturing/industries/art-and-design/

www.goodreads.com. (n.d.).  A quote from The Winding Passage . [online] Available at: https://www.goodreads.com/quotes/1525433-technology-like-art-is-a-soaring-exercise-of-the-human .

‌www.linkedin.com. (n.d.).  Artificial Intelligence in Art: Exploring the Intersection of Creativity and Technology . [online] Available at: https://www.linkedin.com/pulse/artificial-intelligence-art-exploring-intersection-creativity/ [Accessed 22 Jan. 2024].

www.linkedin.com. (n.d.).  The Growing Relationship between Art and Technology . [online] Available at: https://www.linkedin.com/pulse/growing-relationship-between-art-technology-drilers-india/   [Accessed 24 Jan. 2024].

Osinowo Ifeoluwa Feyisayo (B.Sc, M.Sc) is an architecture graduate from Obafemi Awolowo University, Nigeria. He is an ardent lover of architectural history and heritage and cultural preservation through architecture. He believes that architecture could be a proactive technical response to a question that is not technical but rather is historical.

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How Digital Technology Influences Art Essay

Introduction, it has reduced expenditure, it has expanded the amount of artwork that one artist can do, it has improved the capacity of artists to show up their expected designs, digital technology has paved a way for artists to speak to wider spectators.

Digital technology has become part of the everyday life in the world. Various sectors such as music industries have faced the problem of responding to the speedy developments in digital technology. In the world of arts, digital technology changes every day especially in media convergence technologies and digitalisation of production.

Gündüz (2012, p. 202) confirms how digital technology factors have become the engine through which the wheels of art and design revolve all across the world. This advancement has made it very difficult for any country in the world to do without digital technology in its arts industry.

Various economies have therefore put in place mechanisms to counter the effect of the digital revolution to keep abreast with technological changes. This section of the paper discusses the impacts of digital technology on the world of arts.

Digital technology has cut down the expenditure of producing art works thus improving accessibility by many people. Just the way the use of cars, motorbikes, and airplanes has increased the speed of travelling, with people reaching their destinations without much efforts, the digital technology has lessened the efforts that people had to put on walking or running to production studios and to areas where artists portray their work.

According to Bhattacharjee et al. (2009, p. 140), the art industry, which used to produce its work manually thus using much funds, has increased the speed of production with less efforts and expenses due to digital technology. Since works of art are now produced at a lower cost, it has also become easier for masses to access this work because prices are also lower in the market.

Technology reduces production expenditure hence making production expenses cheaper. Constaninides (2004, p. 115) also points out that digital technology has lessened the efforts that producers and consumers put in accessing raw materials and products consecutively. Artists can currently access raw materials for their business from the internet thus cutting on travelling costs.

With digital technology in place, one artist can do several activities at the same time. According to Van House (2011, p. 125), an artist can sing on a digital audio recorder, play some digital accompaniments, and dance at the same time. Digital technology enhances efficiency of the whole process of producing artwork.

Writing of scripts, a stage that was very cumbersome to most artwork producers, has been made easy by the inception of digital technology. Constaninides (2004, p. 112) argues that a lot of information is available for artists on the internet and other educative media. From such sites, artists learn how to improve their multi-tasking skills.

According to Faye et al. (2012, p. 147), reduction of manual work has also enabled the disabled artists to take part in arts through the digital technology. Recording of artwork was also a cumbersome activity in the past. However, with digital technology, an artist can record a multiplicity of episodes in one day.

According to Bhattacharjee et al. (2009, p. 140), today, digital cameras, audio devices and recorders, and editing programs are in place. They have improved the quality of the products that come from artwork.

Digital technology makes images and pictures clearer, attractive, and clean for the consumers despite having been produced simultaneously. Accessibility of cost effective machines and gadgets for example Digital Versatile Discs players (DVD) and video players though which consumers can access products of art has also enabled the artist to produce more.

For artists who involve themselves in drawing and designing, digital technology has enabled them to produce their products in bulk. Digital technology has also improved on the quality of artwork that artists produce.

Digital technology has widened consumer platform. With a wider consumer contact point, artists can access millions of consumers hence providing the right information and impression about their products directly to them. These platforms include televisions channels, cinema, video players, social media, and the internet among others.

As the number of platforms increases, the number of audiences that the artists have also increases. It is also possible that digital technology provides more elaborative information about an artist. Consumers are therefore more informed. Hence, they can make the right choices in picking products. Faye et al. (2012, p. 147) affirm that even the visually impaired artists can display their products through the help of the digital technology.

Live recording and presentation programs such as programs on beauty pageants competitions that are televised live are an opportunity for designers to show up their designs (Van House 2011, p. 125). Artists can now televise, record, and sell various works of arts including martial arts as videos. Through digital technology, the artist can now reach almost every person who accesses the new media.

The audience has also been empowered through digital technology. Foss (2001) argues that the media has been so active in monitoring the behaviour and conduct of leaders in various nations. Artists have become opinion leaders due to their fame and acceptance as celebrities. Most of the people would want to be achievers in certain areas just as the artists.

When the audience accesses information about immorality or underperformance of their favourite artists on the digital platforms, they are empowered to change their opinions about them and even to stop consuming their products. In fact, digital technology provides a better platform in which the audience can interact, scrutinise, and even criticise the artist.

However, uncontrolled access to the websites of these artists can be problematic. Moore argues, “Identifying and accessing various resources of network system can allow a way into confidential documents or even databases” (2005, p.258). Cyber crimes have intensified with growth in digitalisation.

Therefore, digital communication technology has brought the power of people-to-people. Artists have become very powerful and influential across the world. Almost every commercial advertisement, political advertisement, charity, and even religious advertisement is using artists as product ambassadors thus increasing their platforms.

Aghion and Tirole (1997) also affirm that people are also exchanging information through the social networks about how various celebrities are conducting themselves. For example, a gospel artist whom a company has adopted and paid to advertise and become the product ambassador for a product or a program that is sponsored by a beer or cigarette company is likely to be criticised and mocked on the social media.

Similar complains and ridicules have been raised on televisions and radios through call-ins from the audience. Digital technology has therefore increased the platform for the audience to monitor the lives of artists. Foss (2001) insists that various artists and art companies have established websites that they post information about themselves and their programs for the citizens.

The consumers of artwork who prefer plays, songs, paintings, and martial arts can also access any information they want from such websites. This possibility is a great response to digital communication exploration in the world today.

Spectators are the target markets for all artists. They can watch the artists live on televisions and on the internet as they perform on stage. According to Marchese (2011, p. 302), although most of the spectators may not be in a position to travel to the venues of the concerts and exhibitions, they can become part of the program through digital communication.

As artists display their products and talents, many more spectators are now able to access the proceedings in real time. In fact, some people become spectators and fans through accident. As one scrolls through the channels, he or she is likely to find such a program proceedings. If the work of art is interesting, educative, or entertaining, the audience becomes part of the spectators of such an artist.

Digital technology increases the number of spectators. Marchese (2011, p. 302) argues that the response to digital technology in arts that is clearly visible in most countries is the development of e-commerce. E-commerce enables artists to market and sell their products to a wider market. With e-commerce, the artist does not have to meet one-on-one with the customer. All the transactions can be done online.

Calvo and Monge (2009, p. 281) argue that many countries of the world have realised that trading in arts especially in the current world of digitalisation cannot escape the impact of modern technology. D’Rozario and Bryant (2013, p. 9) confirm that the adoption of digital technology by most nations of the world today has made the world of economics a small business village.

One can trade and even converse with his or her fans that are in a far continent. Constaninides (2004, p. 112) argues that digital technology has eliminated the geographical boundaries between trading partners such as artists, their fans, art firms, and their fans hence reducing transport cost and increasing the quality and quantity of information flow between parties.

Calvo and Monge (2009, p. 281) argue that, in the United States, a spectator can order for certain products from an artist online and pay for them online and wait for delivery online within no time. The indication is that digitalisation of arts has even enlarged the market to spectators and artists (García & Whittinghill 2011, p. 309).

Another good example is the use of digital technology to purchase ringtones for mobile phones and even to download videos. During live concerts, artists pause to take the audience through a process of prompting downloads of ringtones and videos over the mobile phones and iPods. In such a forum, artists gain a lot of money instantly since most of the fans buy their products online as prompted by e-commerce.

According to Bonsu and Darmody (2008, p.356), e-commerce has empowered consumers in the world of business to undertake their roles. Customers of the products of arts have become more informed in making choices between products. D’Rozario and Bryant (2013, p. 10) argue that the roles played by buyers and sellers in the US before the inception of e-commerce have drastically been changed.

The time of passive customers and over active sellers has been eliminated in the American economy through digital technology. According to Gronroos (1994, p.9), quick evolution of e-commerce has made consumers of art products active players in the whole transaction. Customers have an opportunity to choose from an assortment of goods and services advertised online.

In the same way, consumers can trade with the artist that they consider the best according to the information posted on their websites. Gronroos (1994, p.9) also argues that e-commerce has made many economies turn from 12 hours to 24-hour working economies.

According to Constaninides (2004, p. 112), increase in the number of hours for doing business in many nations has also increased the number of online customers and audience for artists. Largely, this case increases the market since most people can access the products of the work of art that the artist places in stalls. Such is the economy of the United States.

Gronroos (1994, p.9) believes that customers and artists can carry out exchange transactions at any time of the day or night via the internet. García and Whittinghill (2011, p. 309) affirm that artists in the economy of United States have become very powerful and influential across the world.

In conclusion, digital technology has had a big influence on art. The world has become a global village today due to digital revolution. Gündüz (2012, p. 202) affirms that as the economy of the world grow, its cultural aspects must also grow with it. Growth in digital technology has cut down the expenditure of producing artworks hence improving the accessibility of artwork by many people.

Digital technology has extended the array and amount of artwork that one artist can do in a given period. Artists can produce many products in a short period and even in real time. The paper concludes that digital technology has improved the capacity of artists to show up their expected designs though various digital platforms such as the internet, social media, televisions, videos, and mobile phones.

Aghion, P & Tirole, J 1997, ‘Formal and Real Authority in Organisation’, Journal of Political Economy , vol. 105 no. 1, p. 29.

Bhattacharjee, S, Gopal, D, Marsden, R, & Sankaranarayanan, R 2009, ‘Re-tuning the Music Industry -Can They Re-Attain Business Resonance?’, Communications of the ACM , vol. 52 no. 6, pp. 136-140.

Bonsu, A & Darmody, A 2008, ‘ Co-creating Second Life: Market—Consumer Cooperation in Contemporary Economy’, Journal of Macromarketing, vol. 28 no. 4, pp. 355-368.

Calvo, E & Monge, J 2009, ‘New Technologies in Central American Contemporary Art: A Partial Archaeology and Some Critical Appreciations from the Institutional Realm’, Third Text , vol. 23 no. 3, pp. 281-292.

Constaninides, E 2004, ‘Influencing the Online Consumers Behavior: The web Experience’, Emerald Research Journal , vol. 14 no. 2, pp. 111-126.

D’Rozario, D & Bryant, K 2013, ‘The Use of Dead Celebrity Images in Advertising and Marketing- Review, Ethical Recommendations and Cautions for Practitioners’, International Journal of Marketing Studies, vol. 5 no. 2, pp. 1-10.

Faye, W, Selvadurai, C, Smithwick, Q, Cain, J, Cavallerano, J, Silver, P, & Goldring, E 2012, ‘The Seeing Machine Camera: An Artistic Tool for the Visually Challenged Conceived by a Visually Challenged Artist’, Leonardo , vol. 45 no. 2, pp. 141-147.

Foss, K 2001, ‘Organising Technological Interdependencies: A Coordination Perspective on the Firm’, Industrial and Corporate Change , vol. 10 no. 1, p. 151.

García, E & Whittinghill, D 2011, ‘Art and Code: The Aesthetic Legacy of Aldo Giorgini’, Leonardo, vol. 44 no. 4, pp. 309-316.

Gronroos, C 1994, ‘From marketing mix to relationship marketing: Towards a paradigm shift in marketing’, Management Decision , vol. 32 no. 2, p. 9.

Gündüz, U 2012, ‘Digital Music Format Mp3 as a New Communications Technology and the Future of the Music Industry’, Scientific Journal of Humanistic Studies, vol. 4 no. 7, pp. 202-207.

Marchese, T 2011, ‘Conserving Digital Art for Deep Time’, Leonardo , vol. 44 no. 4, pp. 302-308.

Moore, R 2005, Cybercrime: Investigating High Technology Computer Crime , Bender & Company, New York.

Van House, A 2011, ‘Personal photography, digital technologies and the uses of the Visual’, Visual Studies , vol. 26 no. 2, pp. 125-13.

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Technology and Art Essay

In the article, “Computer Graphics: Effects of Origin,” the primary thesis from the author Beverly J. Jones is that “to establish the relation of specific image, object, event, or environment to conceptual frames” (p21). Jones wants to point out the connection between the technology and art in our life and society. One historical example Jones provides as an illustration of her thesis is that “Electronic and photonic art forms have been and will continue to be influenced by their origins and practices”(Jones p21). This example lets people know more about the relationship between art and technology in people’s daily activities. Otherwise, give more information about how technology and art have steadily continued to interact each other, and influence people step by step. Today, many “computer scientists and technologists may assist individuals in the arts and humanities to understand potential uses for computers”. That means scientists and technologists are wanted to cooperate with artists to make technology and art become better. Otherwise, that kind of cooperation can make the category of art become more, make it become digital form, and make the art become wilder used by more people. In addition, in the article “Technology and art against cancer” the author Luciano Armaroli states that technology and art can fight against cancer, to make people reduce their pain and become better. She gives an example, “I had a patient (subsequently a good friend) who is one of the greatest 20th century artists in the Province of Reggio Emilia—Arnaldo Bartoli, painter, sculptor, poet, and naturalist”. She wants to explain that his friend try to treat the patients’ cancer through the art works, from their paintings and lots of beautiful sceneries in the hospitals, that is a special way for patients to treat their cancers. Otherwise, she says that “Since June, 1992, we have treated several thousand patients in the frescoed bunkers, and many others have passed through the corridors and waiting rooms. They have not shown any signs of terror or claustrophobia while lying under the huge radiotherapy machines, whereas in the past when people came into the gloomy bunkers for radiation treatment we often saw reactions of repulsion and fear”. That means when patients face the machines in the hospitals, they will feel scary, that may not good for their treatment. However, when there have some beautiful picture and images in the hospitals, patients feel better when they walk in the hospitals. “That so many people appreciate what has been done makes us more and more convinced that the juxtaposition of technology and art is beneficial in a hospital setting”. So that is a good connection between the technology and art, and this is a good method for treating people’s illness, make people’s life become healthier and better.

Armaroli, L.(1999) Technology and art against cancer  The Lancet, 1999, Vol.353(9149), pp.332-332

http://www.sciencedirect.com.libproxy.uoregon.edu/science/article/pii/S014067360574887X

Jones, B. J. (1990). Computer Graphics: Effects of Origins. LEONARDO: Digital Image – Digital Cinema Supplemental Issue, pp. 21-30.

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In his workThe Work of Art in the Age of Mechanical Reproduction, Benjamin (1936) recognises the fact that the rapid growth of technology was fast taking over art. To understand his source of concern, it is good to know that Benjamin grew up in a time when technological revolution was taking place, and thus, he witnessed a unique border between the beauty of the magic of handiwork and the power of mass production. Before technology, handy craftsmen would produce most items and each item would receive the specialized attention of the craftsman. Technology did not only rob handy workers of their jobs, but also robbed the human race of a very important gift, the craftsmanship. Benjamin was therefore, concerned that the price that humanity had to pay for taking on technology to solve its problems was the loss of the magical creativity of individualized production of item. In his understanding, Benjamin seemed to see creativity as an everyday thing, not just something to be found in the hands and lives of known artists. As a result, every person was an artist in his or her own right in that everything they did was to be done in an artistic way. Because everything production received the attention and the creativity of the individual, each product, therefore, received a form or radiance (or aura) from its creator. In other words, the object was given life from the creator, simply by its interaction with its creator during the production. Technology, on the other hand, was different in that the production had less human interaction, it took only mechanistic and automated processes to produce goods that were so identical, and therefore, they lacked the aura of art. Benjamin’s feelings about technology and deprivation of the human race from the aura of art can be best understood by fact that at the time, the belief in human aura was very pronounced, especially among artists and traditional cultural ambassadors like him. The human aura or the aura of the human body was seen or believed to be a form of warmth and lifelike radiation that emanated and surrounded the human body. As such, Benjamin seemed to believe that, since humans produced and were surrounded by this warmth and radiation, the product they produced and interacted with would also be graced by the same kind of aura in the end. That belief led to his argument that the mass production of goods using mechanistic automation would lead to products that did not have the opportunity to acquirer this aura from the human individual, because the only thing they interacted with was the machines that produced them. Machines are not human and therefore cannot have the aura that means that they cannot transmit the same to the products they produce. Benjamin was right in some way. The technology was killing individual creativity day by day, and artisans were being replaced by clever technology. In the new technological order, the creative mind was no longer important; technology was simply taking over creativity.

It seems like creativity in the production of everyday products was not the only thing Benjamin was concerned with. Even art in its purest from, such as painting and drawing was under massive attack by the arrival of technology. Paintings were being replaced by technology, while photographers were replacing the painters. To Benjamin, this was a disaster in making it, because not only was it dying, but also because the cultural fibre was under attack that would mean that there would be so many other things falling apart, once the little fibres of culture started falling away. To him, if not enough care taken, the technology would end up being more of a curse than a blessing to the society.

A good example of the way art was given in to technological advancements can probably be seen in the invention of a light lens camera. The light lens camera came to replace a very old art of painting. Painting is a very humanistic art and takes very long time to develop a fully developed work of art. Some of the finest paintings, such as Madonna and child took experienced and gifted artists years to produce. Yet, with the light camera, the same portrait that took a lot of creativity could now be produced in a very short time. More than that, a person who was not even an artist could produce the same. In this kind of a set up, the world of art was taking a new direction. The aura of art lost in the power of technology, the role or artists changing from the creative artists to the clever users of technology. In this candid example, it is probably most clear what Benjamin meant by saying that the aura of art would wither in the presence of technology. As photographers took over the work or creative painters, the warmth that a painting would receive from its painter would be lost, because the portrait would be produced only from a mechanistic point of view. The photographer did not even need to understand how the technology behind the camera worked. For this reason, art and technology seemed at war, a war that art was losing on a daily basis. Benjamin, being a cultural observer and critic argued that this would have a fundamental effect not just on art, but also on the cultural interaction in the long run. The root of his concerns, therefore, was not necessarily that art was losing ground and priority, but that the technology was causing a cultural, and therefore, a political revolution.

This point of view led to his argument that as technology continually replaced art and creativity, art would now only be used as the means in the political arena. Benjamin wrote this article in a time and place when the German nation was undergoing the critical political changes, with unorthodox leaders, such as Hitler rising to power. Benjamin was essentially connecting the moral degradation, as well as the political decay to the death art, caused by the arrival of technology. He clearly seemed to have a belief that, since art was developed over a long time within which the human culture was made, its loss would lead tot the admirable human culture, and therefore, as societies readjusted themselves to the new technological order, the price they had to pay would be political and cultural disorder. This argument was to become very influential in many areas of study, despite that the argument has a lot of subjective speculation. Yet even in its wide subjectivity and abstraction, his hypotheses of a society rotting away due to the loss of culture and art seemed to have been witnessed in many cultures and civilizations around the world. While there may not be any evidence that this was because of the technology taking over art, it still does make sense, since there seems to be a high interrelation. The technology as ever since taken over art and creativity (at least in its archaic form) and has produced a new brand of artists. For instance, the computer art (graphics design is a very new form of art that did not even exist at the time when Benjamin wrote his famous paper.

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“Artist Perspective: Building Afrocentric Technoculture and Community”

By ari melenciano.

Photo courtesy of Ari Melenciano

There’s a powerful union at the intersection of art and technology, as the report Tech as Art: Supporting Artists Who Use Technology as a Creative Medium suggests—where art expands and humanizes the possibilities of technology, and technology creates entirely new forms of expression through art. As a creative technologist at Google’s Creative Lab, I’ve been fortunate enough to sit at the nexus of these influential worlds.

The Creative Lab is essentially the creative think tank of Google, one of the biggest technology companies in the world. Google’s mission is to organize the world’s information. The lab is situated within the marketing leg and tasked with finding ways to bring creative life to the tools, technologies, and opportunities Google offers to billions of people every day. Currently, much of my work surrounds learning the ins and outs of machine learning. We are working to become early pioneers of a likely pivotal moment in computation as machine learning is embedded in microcontrollers smaller than a capsule of lipstick, for the cost of a bottle of water. The potential for more of the world to have access to powerful technological infrastructure is massive. We’re also excited to begin investing in the developers’ ecosystem all across sub-Saharan Africa. We’re learning directly from people on the continent as to how Google’s tools can better serve these communities and how their lives can become easier with these technologies.           

This is a fruitful time in my career as my professional interests are aligned with many of my personal projects. The largest project I’ve built, Afrotectopia, is a social institution I founded while a graduate student at New York University’s (NYU) Interactive Telecommunications Graduate Program (ITP). Afrotectopia began as a new media arts, culture, and technology festival where hundreds of innovators gathered around centering Blackness and Afrocentric design when considering new ways to create and design to mitigate racial disparities. Since the first festival, Afrotectopia has grown into a vibrant social institution experienced through think tanks, Black youth STEAM summer camp, alternative adult school courses, international fellowship, imaginariums, and a month-long series of online talks called Fractal Fête.

During the summer of 2020, in the midst of a pandemic, I wanted to explore what happens when you bring together ten innovators from around the world to collaboratively imagine, speculate, and design vibrant and healthy Black futures. These curiosities inspired the creation of the inaugural Afrotectopia Imagineer Fellowship. The fellowship was designed to bring together an international, interdisciplinary, and intersectional cohort of ten Black innovators. This initiative was self-funded through donations. Fellows were selected from across every region of the U.S. and around the world (Ghana, France, and the U.K.).

 Since its fruition, Afrotectopia’s main areas of focus have been art, design, technology, Black culture, and activism. We’ve been keen on creating Afrotectopian environments that are welcoming of diverse and wide-ranging professions and practices. We are invested in “omni-specialized” innovators, meaning that they have a vastly wide array of disciplines and practices, because when designing futures it is crucial that it be done with an understanding in every facet of life. We were also intentional to not consider Blackness as a monolith but as a highly nuanced identity. The selected fellows all held a variety of cultural identities within the Black/Pan-African diaspora. Beyond their cultural identities rooted in racial politics, we also wanted to curate a group of people that held other different lived experiences and identities—from socioeconomic statuses to sexualities, and beyond.

And at the core of much of the fellowship, we emphasized the way Afrotectopia defines and identifies “technology,” not as synonymous with electric forms of computation but merely as an extension of human capability, and beyond that, an extension of sentient capability.

The fellowship was designed to cultivate a collaborative, research-driven practice through designing and developing theory and communal engagement. A core foundational value of the fellowship was the emphasis of “community over individualism.” Every fellow engaged with every project, creating space for them to contribute their expertise or lack thereof. The goal was to cultivate a deep sense of community amongst the fellows, be collaborative, and make sure all research and practice done within the fellowship was accessible to all.

The work of Afrotectopia has been celebrated by a variety of major institutions as it exemplifies a guiding light in the pivotal practice of collaboratively designing pluralistic Black futures, creating space for deeply radical imagination, and cultivating community around pioneering Afrocentric technoculture. We have steadily grown to reveal new possibilities when operating from an antidisciplinary and culturally specific lens.

The story of Afrotectopia was inspired by many life experiences—but particularly my life-changing experience as a student of NYU ITP. It’s a space of the most recently possible at the hands of emerging technologies. The program invites students to be imaginative, interdisciplinary, individualistic, and communal. Every student enters the program with their own objectives and is given the space to explore how they can use art and technology to manifest their personal ideas. For me, the opportunity to learn how to realize my ideas through the development of my own technologies was the highest level of artistic agency I had ever experienced. I was able to create projects such as the Ojo Oro, a new-retro camera that explored the interrelationships between fashion and technology, and between digital and analog modes.

Exploring imaginative uses of technology as a student of ITP was an exciting experience. But I began to shift my focus within my work to consider the roles race, culture, politics, socioeconomic status, and other identities play in technoculture of today, yesterday, and tomorrow. This reorientation was inspired by the change of leadership in the White House, and my experience in moving from my predominately Black hometown to being within a program where about four percent of the students were Black. I began to explore how I could use my work to challenge societal norms regarding race and use creative tech for pedagogy that incorporates political dissent. I experienced great frustration in the lack of racial diversity in technology programs countrywide, such as mine. I also recognized the lack of attention to both the social impacts of technology on communities of different races as well as the promising opportunities when considering race, culture, and tech in tandem. My lack of community of Black peers, mentors, and mentees within the creative technology world made it hard to exist, thrive, and be inspired within the field. These experiences encouraged me to develop Afrotectopia, with the support and generosity of ITP.

Like many of the artists featured in Tech as Art, I have since pieced together both my work and creative life by working with many different institutions. After graduating in 2018, I immediately returned to the classroom as a creative technology high school teacher. I managed a makerspace and designed creative technology/computer science curriculum as a full-time creative technology teacher at an all-girls prep school in Upper East Manhattan, as well as consulted with the NYC Department of Education on how to bring conversations around societal issues into the fold of STEAM curriculum for sixth-graders. In those roles, I learned about the power of simple and effective communication on what computer science technology means and how to create classroom environments that recognize the day-to-day applicability of these technical skills.

In this time, I also served as a researcher at NYU ITP, continuing to research the societal impacts of technology, Afrocentric design, and the imaginative possibilities of creative technology through the development of multisensorial experiences. During my research residency, I also began presenting to universities and companies around the country, and eventually the world.

As I’ve continued through my career, I’ve also been awarded various fellowships and residencies from institutions like Eyebeam, NYU’s Future Imagination Fund, Pioneer Works, Culture Hub, NY Live Arts, and MICA (Maryland Institute College of Art). I’ve also been invited to incubate work and become a part of inspiring memberships, including the New Museum’s New Inc, ONX, and the Guild of Future Architects. Residencies have served as both a great way to sustain my work financially while creating more opportunity to focus on my current projects, begin new ones, and have an expanded community to share it with.

My passage into creative technology has been a windy path created without any models. Part of why Afrotectopia has thrived is because, unfortunately, there are no other communities that are seamlessly offering such an interdisciplinary approach to new media in tandem with race and culture—there need to be many more. Financially supporting this work is difficult, both as a practitioner and as an entrepreneur. Building a community of this nature, and cultivating people-powered initiatives, is a laborious task that unfortunately requires a demanding level of perseverance and frugality. But in all the work I’ve been able to do throughout my creative technology journey, I’ve continued to remain in a state of awe and appreciation at the possibilities on the other side of grit, perseverance, continuous curiosity, and a deep optimism for the future.

Ari Melenciano is a Brooklyn-based designer, creative technologist, and researcher who is passionate about exploring the relationships between various forms of design and sentient experiences. She is a creative technologist at Google's Creative Lab, teaching and research fellow at NYU's Interactive Telecommunications Graduate Program, and founder of Afrotectopia, a social institution fostering interdisciplinary innovation at the intersections of art, design, technology, Black culture, and activism. Her award-winning work has been supported and exhibited by a variety of institutions, including Sundance, New Inc, New York Times, and the Studio Museum of Harlem. She is often guest lecturing at universities around the world.

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