24 December 2009
Please send me (firstname.lastname@example.org) info about your work for possible including in my book ‘THE FUTURE OF ART IN A POSTDIGITAL AGE: FROM HELLENISTIC TO HEBRAIC CONSCIOUSNESS’ (Intellect Books/University of Chicago Press), a new updated and expanded edition of my 2006 book ‘The Future of Art in a Digital Age: From Hellenistic to Hebraic Consciousness.’
I’d also like to receive artists' views on what constitutes postdigital perspectives. Below are some ideas on art beyond the digital in my 2008 book 'Educating Artists for the Future: Learning at the Intersections of Art, Science, Technology, and Culture' (Intellect Books/University of Chicago Press).
In his chapter “Beyond the Digital: Preparing Artists to Work at the Frontiers of Technoculture,” Stephen Wilson proposes that although the impact of digital technology is significant, it forms part of something much more momentous that is intertwined with the aesthetic, ethical, cultural, and social-economic. Scientific research and technological development are radically transforming basic philosophical ideas about the nature of the physical world, time and space, the nature of life and intelligence, and the limits in our abilities to transform the world and humanity. Art redefined by a digital revolution linked to revolutions brewing in the realms of biology, neurophysiology, materials science, and cosmology require new methods for educating artists at the intersections of art, science, technology, and culture.
Roy Ascott in his chapter “Pixels and Particles: The Path to Syncretism” also proposes that the digital moment has passed in the sense that interfaces are migrating from a cabled, box-bound environment to wireless multi-sensory, multi-modal, mobile, wearable forms, and eventually with biochips implanted in our bodies. He coins the word “moistmedia” as the symbiosis between dry pixels and wet biomolecules. Our artistic inquiry and design skills will be devoted to creating moistmedia artworks from which new metaphors, new language, and new methodologies will arise. The dynamic interplay between digital, biological, and cultural systems calls for a syncretic approach to arts education realized through connectivity, immersion, interaction, transformation, and emergence. Ascott explains that young artists face the challenge of creating a syncretic art that explores telematics (planetary connectivity), nanotechnology (bottom up construction), quantum computing (augmented cyberception), cognitive science and pharmacology (field consciousness), and esoterica (psychic instrumentality).
15 December 2009
It is being renamed
The Future of Art in a Postdigital Age: From Hellenistic to Hebraic Consciousness.
There will be two new chapters in the book:
"Postdigital Perspectives: Rediscovering Ten Fingers" and
"Wikiperspectives: Multiform Unity and Global Tribes."
Studies in Art Education, July 2009
19 May 2009
The Future of Art in a Digital Age:
From Hellenistic to Hebraic Consciousness
A Sukkah at the BMW Museum
My students at the college I headed in the Negev desert helped me tie four mega-tzitzit from ship rope and paint one strand skywater blue. We stuffed these 30-foot long tzitzit in four specially made canvas bags to be flown to Germany by Lufthansa. They would hang from the corners of a giant habitable talit [prayer shawl] on the street in front of the BMW Museum in Munich. It would be my art installation for the third international “Sky Art Exhibition.”
Since my wife’s entire extended family from Holland were murdered by the Germans, I was reluctant to accept an invitation to participate in an exhibition in the city in which Hitler got his start and at a museum across the road from the Olympic Village where 11 Israeli athletes were murdered by Arab terrorists nearly 30 years before 9/11. However, reading the article on Munich in Encyclopedia Judaica changed my mind. The enthusiastic support of Munich’s citizens for Hilter was no new phenomenon.
"In the second half of the 13th century Munich appears to have had a sizable Jewish community; the Jews lived in their own quarter and possessed a synagogue, ritual bath, and a hospital. On October 12, 1285, in the wake of a blood libel, 180 Jews who had sought refuge in the synagogue were burnt to death.”
The anti-Semitic nightmare continued. Munich’s Jews were murdered as scapegoats for plague in 1348, and all the Jews were expelled from Bavaria for the next three centuries in 1442. To harass the Jews during the 18th century, the Munich authorities made it illegal to build a sukkah, the traditional hut built for one week each year as a reminder of the Israelites’ desert dwellings during their exodus from Egypt.