Art History and the Criticism of Computer-Generated Images

Elkins, James

doi:10.2307/1576009

Cited by 7 publications

(4 citation statements)

References 14 publications

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“…To do this work in itself requires a certain amount of un-doing before you can actually arrive at the point of new inquiry. The logic that drives and supports digital and networked technologies can be traced as far back in Western history as the philosophies of Wilhelm Leibniz (Amaro, 2021) and the Renaissance (Elkins, 1994). And, as Ezekiel’s work clearly lays out—particularly in the papers chosen for today’s session (Dixon-Román, 2016, 2020)—these logics are not only outdated but they have also carried with them the same racist and colonialist assumptions and misinformations that has no place in our current politics.…”

Section: A Note From Special Issue Guest Co-editorsmentioning

confidence: 99%

Diffracting Boundaries: Toward Post-Philosophies of Quantification and the Black Radical Tradition

Dixon‐Román

Fernandez

Quiros

et al. 2022

Qualitative Inquiry

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This article is derived from a webinar series conversation titled, “Post Philosophies and the Doing of Inquiry” co-hosted by Candace R. Kuby and Viv Bozalek. Featured in this conversation is Ezekiel Dixon-Román and he discusses some of the backgrounds to his scholarship and how he has come to his questions and approach of inquiry on/in quantification and the Black radical tradition. He and his students discuss their respective projects and the interventions they are making in the technologies and practices of quantification through their engagement with critical theory, Black radical thought, new materialisms, cybernetics, and media studies.

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Section: A Note From Special Issue Guest Co-editorsmentioning

confidence: 99%

Diffracting Boundaries: Toward Post-Philosophies of Quantification and the Black Radical Tradition

Dixon‐Román

Fernandez

Quiros

et al. 2022

Qualitative Inquiry

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“…This interaction creates different effects on viewers and creators than simply viewing an image. One effect of the computer’s use for imaging (and the ability of computer users to alter images they create almost instantly) is that, as Elkins (1994) suggests, how we conceptualize space has changed. Writing about artists’ and illustrators’ tendency to create simpler, less complicated computer images, Elkins observes, “The lumpy, crowded spaces of Western painting have been replaced by the sheer, limitless spaces of contemporary graphics” (p. 335).…”

Section: Nanospace As Digital Space: Computer-generated Worldsmentioning

confidence: 99%

Amidst Nanotechnology’s Molecular Landscapes

Hanson

2011

Science Communication

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The common scientific metaphor linking microscopic phenomena to new or subvisible worlds in images and text has also been used to describe nanoscale phenomena. However, on closer examination, some images of the nanoscale reveal a shift away from the trope’s association with microscopic worlds and toward participatory, computer-generated worlds. This shift articulates different relations between the nanoscale and the macroscopic scale, relations that also affect how we position ourselves in relation to nanoscale phenomena and so affect the formation of nanotechnology. These different relations also create different ways to understand the nanoscale, scientific communication, and the shaping of scientific knowledge.

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“…The expressive meanings, artistic strategies and conventions of that genre continue to underwrite developments in computer graphics, especially when they are not acknowledged [p. 335,13]. "…”

Section: Accumulating Knowledgementioning

confidence: 99%

Why use computers to make drawings?

Whale

2002

Proceedings of the Fourth Conference on Creativity &Amp; Cognition - C&C '02

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In the field of art and design, there are some circumstances in which the use of computers for drawing would seem to confer few tangible benefits; and in situations where computers are productively employed, usage is often tightly bound by convention. Consequently, some practioners doubt whether the technology has anything new to offer them. In this paper, a wideranging review of contemporary, computer-mediated drawing leads the author to conclude that such scepticism is unfoundedthat computers are not only enabling artists and designers to extend the scope of drawing, but that they are also helping us to understand aspects of the drawing process itself.

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Art History and the Criticism of Computer-Generated Images

Cited by 7 publications

References 14 publications

Diffracting Boundaries: Toward Post-Philosophies of Quantification and the Black Radical Tradition

Diffracting Boundaries: Toward Post-Philosophies of Quantification and the Black Radical Tradition

Amidst Nanotechnology’s Molecular Landscapes

Why use computers to make drawings?

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