New Media in Art : Michael Rush
the use of digital technology is pervasive. Even some traditional painters are making preliminary drawings in their computers before heading their easels. p.180.
Digital technology is the engine that drives computer art, internet art, digital photography and digital video, much of contemporary sound art, experimental sculpture and a host of other practices, each with its own history and relevant artist. p.180.
Now of creating work that has no referent in a non-digital world; indeed, that has no referent in the three-dimensional world as we know it. Using digital technology artists are now able to introduce new forms of production, not reproduction. p.181.
Paul Virilio, ‘we are entering a world where there won’t be onw, but two realities: the actual and the virtual. There is no simulation, but substitution.’
Perspective and reproducibility are, for Benjamin, concepts related to representation of the real; but there are no longer agreed notions of the real. The digital world, which goes far beyond the mere non-linearity introduced into art by Cubism, is becoming a new reality for which a new critical and aesthetic language must yet be developed. p.181.
In art, visual literacy is no longer limited to the object. It must embrace the fluid, ever-changing universe that exists inside the computer and the new world the computer facilitates: an interactive art world that ca be virtual in its reality and radically interdependent in its incorporation of the viewr into the completion of the work of art. p.183.
Interactive has emerged as the most inclusive term to describe the type of art of the digital age. p.183.