Welcome to Argus’s Digital Arts blog
Week 11: Art, the Posthuman and the Nonhuman
Cleland (2010) discusses the idea of the “mixed reality experience”, where emerging technologies have seen the amalgamation of the real and digital experience. She describes this as the way that “the real and the virtual, the natural and the artificial blend and intermingle in complex ways” (p. 30). It is important to consider the way…
Week 10: Participatory Aesthetics: Art and audiences in neoliberal capitalism
When considering the ideas of interactivity, partcipation and collaboration in digital art I am immediately drawn to the multitude of installations on display during the annual Vivid Sydney exhibition. Of particular note was the Dreamscape interactive lighting display of 2017, which consisted of 124,128 lights that filled the entirety of the Circular Quay area from…
Week 9: Artveillance: the politics of seeing and being seen
Bringhenti (2010) describes the concept of “artveillance” as “the domain of the reciprocal influences and exchanges between art and surveillance” (p. 175), a theme of art that focuses either around using surveillance as a topic of an artwork or using the technologies of surveillance in the creation of art. This blog post focuses on the…
Week 8: Aboriginal and Indigenous digital arts in Australia and beyond
Vernon Ah Kee’s 2005 installation Cant Chant consisted of a three-channel video, text, portraiture and suspended surfboards which were created in response to the 2005 Cronulla Beach riots (Art Gallery of Alberta, 2019). The white Australian rioters chanted the phrase “we grew here, you flew here” in order to make claim to the beach and…
Week 7: Artistic data visualisation and the datalogical turn
Manovich (2016) defines data visuaisation as “a mapping between discrete data and a visual representation” (p. 428). In this sense, it is the transformation of generally Big Data or large amounts of quantitative and qualitative data into a visual form or interface that enables the viewer to perceve the information and make analysis or draw…
Week 6: Art and the Digitally Networked Public Sphere (Presentation)
Freeman & Sheller’s (2015) editors’ statement explores the possibilities surrounding the relationship between hybrid spaces and digital public art. The core argument surrounding the journal focuses on the way that digital art intersects with contemporary art and “aligns itself with the public sphere” (p. 2). This can be explored in relation to the concept of…
Week 5: Sonic architectures
Schafer (1993, p. 5) introduces the idea of “musique concrète” (French for concrete music) in his analysis of the changing soundscape of the world, which he defines as any sound from the environment that is inserted into a composition through an audio recording. The idea of musique concrète centres around the technique of using recorded…
Week 4: Screens, simulation and special effects
In the current digital age, it is easy to take screens for granted or overlook their significance and history. Manovich (2001) takes a deep dive into the genealogy of the screen, from the classical screen of the painting, to the dynamic screen of a movie, to the real-time screen of a radar, finally to the…
Week 3: Art and media
In the COVID-19 era, artists who previously relied heavily on performance as a form of exhibition have adjusted to this new normal through unique and innovative methods of presenting their art. Musicians and their live bands are one of these affected groups that have had their live shows, concerts and festivals cancelled due to the…
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Argus's Digital Arts Blog 