Digital Creativity: Something From Nothing
- Submitting institution
-
The University of Westminster
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- q977w
- Type
- A - Authored book
- DOI
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10.1057/9781137486417
- Publisher
- Palgrave Macmillan
- ISBN
- 9781137486400
- Open access status
- Out of scope for open access requirements
- Month of publication
- May
- Year of publication
- 2015
- URL
-
-
- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This 200-page monograph examines the role and impact of technology on creative practices, and how the evolution of technology determines the forms and format of an artist's work. The book contextualizes the current digital technological revolution in the light of earlier encounters between craft and industrial innovation and locates the present efforts of artists to work with technologies in the histories of art and industry themselves. It aims to take a critical view of technology without rejecting its value.
The book is based on extensive involvement with media arts laboratories and draws insights from this background. Drawing on experiences and examples of developing digital applications for the visual and performing arts, the book questions myths about the efficacy of technological solutions, noting they are often underdeveloped iterations offered as complete solutions, are essentially unregulated and attract uncritical acclaim that regularly fails in their application. In doing so, the book identifies the enthusiasm for technological solutions as part of a business-driven project rather than the objective and useful result of discovery science. It notes the methods employed in certain areas of technological development as they acquire false authority, driven by marketing plans rather than established need or technical requirements, drawing on his experience in developing alternative technologies in motion capture and visualisation.
The final part of the book looks directly at the use of digital technologies as they compete with analogue ones. In particular, it emphasises the ways in which digital technologies extend analogue practices into an ability to create new forms. The resonance of this with historical craft practice is intended to help critically engage with computing driven solutions, endorsing a notion of craft practice within computing that needs to be distinguished from technological industries themselves, in order to fully appreciate the creative potentials of computer mediated creative practices.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
