Title: Listening to art on a seabed
Source document: Musicologica Brunensia. 2017, vol. 52, iss. 1, pp. 155-168
Extent
155-168
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2017-1-15
Stable URL (handle): https://hdl.handle.net/11222.digilib/136937
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
The paper addresses Vilém Flusser's media philosophy, with a focus on his concept of new media art. Since Flusser never wrote a clear definition of new media art, his view must be deduced from remarks spread across his writings. The deduction is based on the assumption that Flusser's notion of new media art can be set up within the frame of Gaston Bachelard's water element aesthetics. In the paper, metaphors associated with water and with dreams are used to establish links among such different terms within Flusser's vocabulary as "sounding images and visible sound" (computed and projected models of collected data), "chamber music" (a metaphor for the endless collective creativity shared within the digital media pool), and "Vampyroteuthis infernalis" (a fantastic creature living in the hostile environment of the oceanic abyss). The aim is to introduce Flusser as an author of an original and visionary aesthetic and of the poetics of new media art.
References
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[2] BACHELARD, Gaston. Water and Dreams. An Essay on the Imagination of Matter. Dallas: The Pegasus Foundation, 1983.
[3] BERNARDO, Gustavo. FlusserBrasil [online]. 2014. Available online: http://flusserbrasil.com/index.html. [Accessed: February 18, 2017].
[4] BOZZI, Paola. Vampyroteuthis Infernalis. In Siegfried Zielinski – Peter Weibel – Daniel Irrgang et al: Flusseriana. An Intellectual Toolbox. Univocal, 2015.
[5] BRUNS, Alex. Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage. New York: Peter Lang, 2008.
[6] DARLEY, Andrew. Visual Digital Culture: Surface Play and Spectacle in New Media Genres. London and New York: Routledge, 2000.
[7] European Media Art Festival, Osnabrück, September 1–11, §§1988§§. Catalogue, available online: http://emaf.de/files/emafkatalog1988webklein.pdf [Accessed: February 22, 2017].
[8] FLUSSER, Vilém. Die Krise der Linearität. Kunstmuseum Bern, 1988.
[9] FLUSSER, Vilém: On Writing, complexity, and the technical revolution. Interview in Osnabrück, European Media Art Festival, September 1988. Available online (published 13. 1. 2011): https://www.youtube.com/watch?v=lyfOcAAcoH8, [Accessed: February 22, 2017].
[10] FLUSSER, Vilém. Bodenlos. Eine philosophische Autobiographie. Bensheim and Düsseldorf: Bollmann, 1992.
[11] FLUSSER, Vilém. Kommunikologie, Schriften 4, ed. Vera Eckstein and Stefan Bollmann. Mannheim: Bollmann, 1996.
[12] FLUSSER, Vilém. Into the Universe of Technical Images. Minneapolis: University of Minnesota Press, 2011.
[13] FLUSSER, Vilém; BEC, Louis. Vampyroteuthis Infernalis. A Treatise, with a Report by the Institut Scientifique de Recherche Paranaturaliste. Minneapolis: University of Minnesota Press, 2012.
[14] FLUSSER, Vilém. Our shrinking. In Siegfried Zielinski (ed.), Post-History. Univocal 2013, p. 79.
[15] FLUSSER, Vilém. Towards a General Theory of Gestures. In: Gestures. University of Minnesota Press, 2014.
[16] HORÁKOVÁ, Jana. The Gestures That Software Culture Is Made Of. In MAP – Media / Archive / Performance, Leipzig, Germany: Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy", 2016, No. 7, p. 1–18. Available online: http://www.perfomap.de/map7/media-performance-on-gestures/the-gestures-that-software-culture-is-made-of [Accessed: February 22, 2017].
[17] HIGGINS, Dick. Synesthesia and Intersenses: Intermedia. 1965. Originally published in Something Else Newsletter 1, No. 1 (Something Else Press, 1966). Also published as a chapter in Dick Higgins, Horizons, the Poetics and Theory of the Intermedia (Carbondale, IL: Southern Illinois Univ. Press, 1984). Available online: http://www.ubu.com/papers/higgins_intermedia.html#top [Accessed: February 22, 2017].
[18] CHUN, Wendy Hui Kyong. Programmed Visions. Software and Memory. Cambridge, Mass.: MIT, 2011.
[19] LESCHKE, Rainer. Einführung in die Medientheorie. München: 2003.
[20] LISTER, Martin et al. New Media. A Critical Introduction. London and New York: Routledge, 2003.
[21] MANOVICH, Lev. The Language of New Media. Cambridge Mass.: MIT, 2001.
[22] OLIVER, Anne-Marie. Art. In Siegfried Zielinski – Peter Weibel – Daniel Irrgang et al: Flusseriana. An Intellectual Toolbox. Univocal, 2015, p. 58–60.
[23] SIMON Jr., John: Every Icon. 1996. Available online: http://www.numeral.com/articles/paraicon/paraicon.html [Accessed: February 22, 2017].
[24] ZIELINKSI, Siegfried. Vilém Flusser: A brief introduction to his media philosophy. Vilém Flusser's view on art. MECAD online seminar. Cologne, September 2004. Available online: https://monoskop.org/images/4/4b/Flussers_View_on_Art_MECAD_Online_Seminar.pdf [Accessed: February 22, 2017].