Alina V. VENKOVA Herzen State Pedagogical University of Russia
48, Moika Emb., Saint Petersburg, 191186 Russian Federation
Department of Theory and History of Culture, Associate Professor
D. S. Likhachev Russian Institute of Cultural and Natural Heritage, Moscow
2, st. Cosmonauts, Moscow, 129301 Russian Federation
Principal Research Fellow of the Center for Basic Studies in the Sphere of Culture
Doctor of Science (Cultural Studies)
e-mail: venkova@mail.ru
ORCID: 0000-0002-3075-612X
Immersion and Digital Art Perception in the Age of Post-Medium ConditionAbstract: The article reveals the basic characteristics of the existence of art in the post-medial era, demonstrating the role of emotional, sensory and immersive states in this process. The dynamics of the existence of an art object is shown – from its medium-specific phase to the post-medial removal of the role of the unique object in artistic expression.
The text describes the role of post-Internet art in working with an object in the post-medial era. The term “post-Internet” is used to describe the specific quality of media reality, aesthetic feeling and the artistic phenomena generated by it. Post-Internet aesthetics are spreading among a generation of people born and raised with the global presence of the Internet in their lives. If for the development of media theory of the 20th century it was typical to analyze the Internet as a new media, generating a specific new sensibility and new digital art, then for the post-Internet generation in the 21st century, its theorists (Gene McHugh) and artists (Marisa Olson, Artie Vierkant), the Internet no longer appears something new, on the contrary, its use is increasingly routinized, which gives rise to specific everyday practices and art techniques that translate the experience of virtual reality into living space. There is a reverse transfer of the products of artistic activity – from the virtual environment to reality. If earlier traces of a person’s existential and aesthetic presence in the world steadily tended to be “digitized,” then in post-Internet art digital reality returns to physical space, presenting a wide range of products of its “hardening”. This “return to reality” requires new theoretical tools and methods of aesthetic ordering. The article presents an analysis of the forms of post-medial objectivity and the reception practices they form, with a special place given to immersive experience.
Key words: post-medium condition, medium specificity, digital art, post-internet, immersion.
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For Citation: Venkova, A. (2023) Immersion and Digital Art Perception in the Age of Post-Medium Condition. International Journal of Cultural Research, 4 (53). 104–112. DOI: 10.52173/2079-1100_2023_4_104
DOI: 10.52173/2079-1100_2023_4_104
