Titulo:
Obsolescence and Art: The canvas and the CRT
.
Sumario:
This article proposes that the relationship between obsolescence and art is integral to the way that we conceptualize art and art movements. It looks at the need to reconceptualize the use of CRT television technology in art in the present digital age due to the way that obsolescence has enabled a shift in meaning over two distinct technological eras. Through an analysis of televisual flow and the conceptualization of physical manifestations of television and screen culture, the article argues that the category of obsolete can affect or change the way art is understood or consumed. The importance of this observation relates to theories of use value, perception and design in art and screen culture.
Guardado en:
2422-3158
2590-6453
9
2024-07-23
info:eu-repo/semantics/openAccess
http://purl.org/coar/access_right/c_abf2
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-CompartirIgual 4.0.
La Tadeo Dearte - 2024
| id |
metarevistapublica_utadeo_latadeodearte_40-article-2034 |
|---|---|
| record_format |
ojs |
| spelling |
Obsolescence and Art: The canvas and the CRT Obsolescnece Universidad de Bogotá Jorge Tadeo Lozano Artículo de revista Núm. 12 , Año 2023 : Diseño+Arte+Ciencia 12 9 art movements conceptualization Valenzuela, Miguel art This article proposes that the relationship between obsolescence and art is integral to the way that we conceptualize art and art movements. It looks at the need to reconceptualize the use of CRT television technology in art in the present digital age due to the way that obsolescence has enabled a shift in meaning over two distinct technological eras. Through an analysis of televisual flow and the conceptualization of physical manifestations of television and screen culture, the article argues that the category of obsolete can affect or change the way art is understood or consumed. The importance of this observation relates to theories of use value, perception and design in art and screen culture. La Tadeo Dearte Meigh-Andrews, C. (2006). Video Art: the Development of Form and Function, Berg, Oxford. Medienkunstnetz (2018a), Medienkunstnetz, website, Wolf Vostell, Electronic Dé-coll/age, Happening Room, 1968. http://www.medienkunstnetz.de/works/elektronische-decollage/images/1/. Uricchio, W. (2005). Television’s Next Generation: Technology /Interface Culture/ Flow. In Television After TV: Essays on a Medium in Transition eds Lynn Spigel and Jan Olsson, Duke University Press. https://doi.org/10.1215/9780822386278-009 Keen, A. (2012). Digital Vertigo: How today’s online social revolution is dividing, diminishing and disorienting us. Constable, London. Jameson, F. (1991). Postmodernism, or The Cultural Logic of Late Capitalism. Duke University Press, New York, N.Y. https://doi.org/10.1215/9780822378419 Hanhardt, J.C. (2000). Between Language and the Moving Image: The Art of Gary Hill. In R.C. Morgan (ed) Gary Hill. The Johns Hopkins University Press, Baltimore. Miller, D. (2005). Materiality: An Introduction. In D. Miller (ed.) Materiality. Duke University Press, Durham, pp. 1-50. https://doi.org/10.1215/9780822386711-001 Rush, M. (2007). Video Art. Thames and Hudson, London. Sharf, S. (2016). The World’s Largest Tech Companies 2016: Apple Bests Samsung, Microsoft, Alphabet’. Forbes website, May 26 2016. https://www.forbes.com/sites/samanthasharf/2016/05/26/the-worlds-largest-tech-companies-2016-apple-bests-samsung-microsoft-and-alphabet/#1c301eddb661 Slade, G. (2006). Made to Break: Technology and Obsolescence in America. Cambridge, MA, Harvard University Press. https://doi.org/10.4159/9780674043756 Smithsonian American Art Museum (2008). Paik, Nam June, Electronic Superhighway: Continental U.S., Alaska Hawaii, 1995. info:eu-repo/semantics/article Virilio, P. (1991). The Lost Dimension, Translated by Daniel Moshenberg, Semiotext(e). New York, N.Y. Vision Invisible (2018). Adidas Originals | Original is never finished | 2018. https://www.youtube.com/watch?v=-19YaVqwioc. Williams, R. (2003). Television: Technology and Cultural Form, (3rd ed.) Routledge Classics, London. https://doi.org/10.4324/9780203426647 Friedberg, A. (2006). The Virtual Window. MIT Press, Cambridge. http://purl.org/coar/resource_type/c_6501 info:eu-repo/semantics/publishedVersion http://purl.org/coar/version/c_970fb48d4fbd8a85 info:eu-repo/semantics/openAccess http://purl.org/coar/access_right/c_abf2 Text Franceschini, L. (2016) Google – Creating a More Energy Efficient Web. International Standards Organisation, ISO website. https://www.iso.org/2016/11/Ref2139.html Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-CompartirIgual 4.0. Burges, J. (2007) The Uses Of Obsolescence: Historical Change And The Politics Of The Outmoded, In American Postmodernity. Stanford University. PhD Thesis. https://revistas.utadeo.edu.co/index.php/ltd/article/view/obsolescence-art-canvas-crt Este artículo propone que la relación entre obsolescencia y arte es parte integral de la forma en que conceptualizamos el arte y los movimientos artísticos. Analiza la necesidad de reconceptualizar el uso de la tecnología del tubo de rayos catódicos (TRC) de la televisión en el arte en la era digital actual debido a la forma en que la obsolescencia ha permitido un cambio de significado a lo largo de dos eras tecnológicas distintas. A través de un análisis del flujo televisivo y la conceptualización de las manifestaciones físicas de la televisión y la cultura de la pantalla, el artículo sostiene que la categoría de obsoleto puede afectar o cambiar la forma en que se entiende o consume el arte. La importancia de esta observación se relaciona con las teorías del valor de uso, la percepción y el diseño en el arte y la cultura cinematográfica. arte Obsolescencia movimientos artísticos conceptualización Journal article application/pdf Bolter, J.D. & Grusin, R. (2000). Remediation: Understanding New Media. First MIT Press, Cambridge. Publication https://creativecommons.org/licenses/by-nc-sa/4.0 Inglés La Tadeo Dearte - 2024 Obsolescencia y arte: el lienzo y el TRC Anderson, J. (2012). How the American Art Museum Acquired and Rehabilitated Nam June Paik’s Work. Washington City Paper, December 17, 2012. https://www.washingtoncitypaper.com/arts/museums-galleries/blog/13078636/how-the-american-art-museum-acquired-and-rehabilitated-nam-june-paiks-work Ballard, S. (2013). Nam June Paik, Cybernetics and Machines at Play. In K. Cleland, L. Fisher and R. Harley (eds), Proceedings of the 19th International Symposium of Electronic Art, Sydney: ISEA, 1-4. Benjamin, W. (1982). Illuminations, 4th edition. Fontana Suffolk. 10.21789/24223158.2034 2590-6453 https://doi.org/10.21789/24223158.2034 2024-07-23 2024-07-23T00:00:00Z https://revistas.utadeo.edu.co/index.php/ltd/article/download/obsolescence-art-canvas-crt/2157 2024-07-23T00:00:00Z 2422-3158 |
| institution |
UNIVERSIDAD JORGE TADEO LOZANO |
| thumbnail |
https://nuevo.metarevistas.org/UNIVERSIDADJORGETADEOLOZANO/logo.png |
| country_str |
Colombia |
| collection |
La Tadeo Dearte |
| title |
Obsolescence and Art: The canvas and the CRT |
| spellingShingle |
Obsolescence and Art: The canvas and the CRT Valenzuela, Miguel Obsolescnece art movements conceptualization arte Obsolescencia movimientos artísticos conceptualización |
| title_short |
Obsolescence and Art: The canvas and the CRT |
| title_full |
Obsolescence and Art: The canvas and the CRT |
| title_fullStr |
Obsolescence and Art: The canvas and the CRT |
| title_full_unstemmed |
Obsolescence and Art: The canvas and the CRT |
| title_sort |
obsolescence and art: the canvas and the crt |
| title_eng |
Obsolescencia y arte: el lienzo y el TRC |
| description |
This article proposes that the relationship between obsolescence and art is integral to the way that we conceptualize art and art movements. It looks at the need to reconceptualize the use of CRT television technology in art in the present digital age due to the way that obsolescence has enabled a shift in meaning over two distinct technological eras. Through an analysis of televisual flow and the conceptualization of physical manifestations of television and screen culture, the article argues that the category of obsolete can affect or change the way art is understood or consumed. The importance of this observation relates to theories of use value, perception and design in art and screen culture.
|
| description_eng |
Este artículo propone que la relación entre obsolescencia y arte es parte integral de la forma en que conceptualizamos el arte y los movimientos artísticos. Analiza la necesidad de reconceptualizar el uso de la tecnología del tubo de rayos catódicos (TRC) de la televisión en el arte en la era digital actual debido a la forma en que la obsolescencia ha permitido un cambio de significado a lo largo de dos eras tecnológicas distintas. A través de un análisis del flujo televisivo y la conceptualización de las manifestaciones físicas de la televisión y la cultura de la pantalla, el artículo sostiene que la categoría de obsoleto puede afectar o cambiar la forma en que se entiende o consume el arte. La importancia de esta observación se relaciona con las teorías del valor de uso, la percepción y el diseño en el arte y la cultura cinematográfica.
|
| author |
Valenzuela, Miguel |
| author_facet |
Valenzuela, Miguel |
| topicspa_str_mv |
Obsolescnece art movements conceptualization |
| topic |
Obsolescnece art movements conceptualization arte Obsolescencia movimientos artísticos conceptualización |
| topic_facet |
Obsolescnece art movements conceptualization arte Obsolescencia movimientos artísticos conceptualización |
| citationvolume |
9 |
| citationissue |
12 |
| citationedition |
Núm. 12 , Año 2023 : Diseño+Arte+Ciencia |
| publisher |
Universidad de Bogotá Jorge Tadeo Lozano |
| ispartofjournal |
La Tadeo Dearte |
| source |
https://revistas.utadeo.edu.co/index.php/ltd/article/view/obsolescence-art-canvas-crt |
| language |
Inglés |
| format |
Article |
| rights |
info:eu-repo/semantics/openAccess http://purl.org/coar/access_right/c_abf2 Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-CompartirIgual 4.0. https://creativecommons.org/licenses/by-nc-sa/4.0 La Tadeo Dearte - 2024 |
| references_eng |
Meigh-Andrews, C. (2006). Video Art: the Development of Form and Function, Berg, Oxford. Medienkunstnetz (2018a), Medienkunstnetz, website, Wolf Vostell, Electronic Dé-coll/age, Happening Room, 1968. http://www.medienkunstnetz.de/works/elektronische-decollage/images/1/. Uricchio, W. (2005). Television’s Next Generation: Technology /Interface Culture/ Flow. In Television After TV: Essays on a Medium in Transition eds Lynn Spigel and Jan Olsson, Duke University Press. https://doi.org/10.1215/9780822386278-009 Keen, A. (2012). Digital Vertigo: How today’s online social revolution is dividing, diminishing and disorienting us. Constable, London. Jameson, F. (1991). Postmodernism, or The Cultural Logic of Late Capitalism. Duke University Press, New York, N.Y. https://doi.org/10.1215/9780822378419 Hanhardt, J.C. (2000). Between Language and the Moving Image: The Art of Gary Hill. In R.C. Morgan (ed) Gary Hill. The Johns Hopkins University Press, Baltimore. Miller, D. (2005). Materiality: An Introduction. In D. Miller (ed.) Materiality. Duke University Press, Durham, pp. 1-50. https://doi.org/10.1215/9780822386711-001 Rush, M. (2007). Video Art. Thames and Hudson, London. Sharf, S. (2016). The World’s Largest Tech Companies 2016: Apple Bests Samsung, Microsoft, Alphabet’. Forbes website, May 26 2016. https://www.forbes.com/sites/samanthasharf/2016/05/26/the-worlds-largest-tech-companies-2016-apple-bests-samsung-microsoft-and-alphabet/#1c301eddb661 Slade, G. (2006). Made to Break: Technology and Obsolescence in America. Cambridge, MA, Harvard University Press. https://doi.org/10.4159/9780674043756 Smithsonian American Art Museum (2008). Paik, Nam June, Electronic Superhighway: Continental U.S., Alaska Hawaii, 1995. Virilio, P. (1991). The Lost Dimension, Translated by Daniel Moshenberg, Semiotext(e). New York, N.Y. Vision Invisible (2018). Adidas Originals | Original is never finished | 2018. https://www.youtube.com/watch?v=-19YaVqwioc. Williams, R. (2003). Television: Technology and Cultural Form, (3rd ed.) Routledge Classics, London. https://doi.org/10.4324/9780203426647 Friedberg, A. (2006). The Virtual Window. MIT Press, Cambridge. Franceschini, L. (2016) Google – Creating a More Energy Efficient Web. International Standards Organisation, ISO website. https://www.iso.org/2016/11/Ref2139.html Burges, J. (2007) The Uses Of Obsolescence: Historical Change And The Politics Of The Outmoded, In American Postmodernity. Stanford University. PhD Thesis. Bolter, J.D. & Grusin, R. (2000). Remediation: Understanding New Media. First MIT Press, Cambridge. Anderson, J. (2012). How the American Art Museum Acquired and Rehabilitated Nam June Paik’s Work. Washington City Paper, December 17, 2012. https://www.washingtoncitypaper.com/arts/museums-galleries/blog/13078636/how-the-american-art-museum-acquired-and-rehabilitated-nam-june-paiks-work Ballard, S. (2013). Nam June Paik, Cybernetics and Machines at Play. In K. Cleland, L. Fisher and R. Harley (eds), Proceedings of the 19th International Symposium of Electronic Art, Sydney: ISEA, 1-4. Benjamin, W. (1982). Illuminations, 4th edition. Fontana Suffolk. |
| type_driver |
info:eu-repo/semantics/article |
| type_coar |
http://purl.org/coar/resource_type/c_6501 |
| type_version |
info:eu-repo/semantics/publishedVersion |
| type_coarversion |
http://purl.org/coar/version/c_970fb48d4fbd8a85 |
| type_content |
Text |
| publishDate |
2024-07-23 |
| date_accessioned |
2024-07-23T00:00:00Z |
| date_available |
2024-07-23T00:00:00Z |
| url |
https://revistas.utadeo.edu.co/index.php/ltd/article/view/obsolescence-art-canvas-crt |
| url_doi |
https://doi.org/10.21789/24223158.2034 |
| issn |
2422-3158 |
| eissn |
2590-6453 |
| doi |
10.21789/24223158.2034 |
| url2_str_mv |
https://revistas.utadeo.edu.co/index.php/ltd/article/download/obsolescence-art-canvas-crt/2157 |
| _version_ |
1822108998622511104 |