analogon of reality


Certainly, the image is not the reality but at least it is its perfect analogon and it is exactly this analogical perfection which, to our common sense, photography. This can be seen as the special status of the photographic image, it is a message without a code.

perspective(s)


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realism


... documentary modality of black and white realism ...

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visual grammar


grammar goes beyond formal rules of correctness. It is a means of representing patterns of experience. It enables human beings to build a mental picture of reality, to make sense of their experience of what goes on around them and inside them.

virtual reality


the idea of virtual reality only appears to be without a history: in fact, it rests firmly on historic art traditions, which belongs to a discontinuous movement of seeking illusionary image spaces.

immersion


the concept of immersion when implemented as an artwork surrenders most of the essential properties of an artwork.

properties of artwork(s)


collective memory


it is an apparent feature of the concept of immersion that it engages with the spatial and pictorial concentration of the awareness of one's own people, the formation of collective identity through powerful images that occupy the function of memory.

ecstatic transport


using contemporary image techniques, immersive art very often visualizes elements that can best be described as Dionysian: ecstatic transport and exhilaration.

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realism


a realism is produced by a particular group as an effect of the complex of practices which define and constitute that group.

naturalism


each realism has its naturalism, that is a realism that is a definition of what counts as real, a set of criteria for the real, and it will find its expression in the right, the best, the most natural form of representing that kind of reality, be it a photograph or a diagram.

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dominant paradigm(s)


the dominant standard by which we judge visual realism (and hence visual modality) remains for the moment, naturalism as conventionally understood, photorealism.

relation(s)


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mass medium


thus, one year after Monet's death and fifty years after his Impression soleil levant, a late example of modern art reached the changed artistic landscape of the 1920's, transported in a derivative of the mass medium for images in the 19th century.

new media


a consequence of the constitutive function of artistic-illusionary utopias for the inception of new media of illusion is that the media are both a part of the history of culture and of technology.

cultural convergence


the cultural convergence of art, science, and technology provides ample opportunity for artists to challenge the very notion of how art is produced and to call into question its subject matter and its meaning in society.

tele-presence


human aspiration(s)


telepresence also combines the contents of three archetypal areas of human aspirations: automation, virtual illusion and metaphysical views of the self.

cybergnosis


what is being preached is the phantasm of union in a global net community, cybergnosis, salvation through technology, disembodied as a post-biological scattering of data that lives forever.

zealot(s)


what we observe are hyperzealots of a new technoreligion running wild, zapping, excerpting and floating in cyberspace.

aesthetics


since the eighteenth century, aesthetic theories have regarded distance as a constitutive element of reflection, self-discovery and the experience of art and nature.

tool(s)


aesthetic distance is no longer tenable when artist are engaging the same systems used in general communications and research