Antitheses of the Art of the Digital Era: living / real vs robotic / fake – МЕЖДУНАРОДНЫЙ ЖУРНАЛ ИССЛЕДОВАНИЙ КУЛЬТУРЫ

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Svetlana V. LAVROVA
Vaganova Ballet Academy
2 Str. Zodchego Rossi, Saint Petersburg, 191023 Russian Federation
Vice-Rector for Research and Development
Doctor of Science (Art History)
Associate Professor
e-mail: slavrova@inbox.ru
ORCID: 0000-0002-0887-8075

Antitheses of the Art of the Digital Era: living / real vs robotic / fake

Abstract: The article is devoted to the study of the fundamental semantic oppositions of contemporary art of the digital age to living / robotic; real/false, presented in the context of the dynamics of the culture of the XXI century. Based on the material of the art of the New Media of the XXI century – cinema, new music and performances, the presented series of semantic oppositions is analyzed. One of the central themes is a simulacrum – a false likeness, a copy, an illusion that can displace and replace the original. The simulacrum can be thought of as a virtual composer: Emily Howell (EMI), a computer program created by David Cope, serves to replicate composing techniques that can identify the author's style and present simulacra of composer creativity. Any living art continues to generate a common logic, fed by a set of actions characteristic of it. In fine digital art, Harold Cohen's AARON system generates pictures. A copy, as a metaphor for the digital age, imitates cognitive and communicative processes, such as: the ability to teach, recognize images, maintain a conversation within the framework of embedded interaction algorithms, calculate and analyze. The digital copy does not lose the quality of reproduction and this factor of "perfection" becomes the basis for the emergence of post-digital glitch art. Glitch artists synthesize system failures in non-digital environments, or produce and create the environment that is required to cause the error and anticipate its occurrence. The multiplicity inherent in glitch art expands the field of network art, and the network itself is one of many environments in which glitches constantly occur, capable of being designed and localized in a physical artifact. The conclusion from the article is that the “artificial” gives rise to a new artistic world, which is the driving force behind new forms, and the real event turns out to be the material for creating the primary digital world.

Key words: Simulacrum, Glitch art, visual and audio digital media, replicability, post-digital age, Alexander Schubert, Bernhard Lang, Peter Ablinger, Martin Arnold, Rafael Montañez Ortiz.

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For Citation:

Lavrova, S. (2023) Antitheses of the Art of the Digital Era: living / real vs robotic / fake. International Journal of Cultural Research, 2 (51). 66–80. DOI: 10.52173/2079-1100_2023_2_66

DOI: 10.52173/2079-1100_2023_2_66