Emergent Aesthetics—Aesthetic Issues in Computer Arts

EmergentAestheticsAesthetic Issues in Computer Arts Mihai Nadin 1 , he production of art, as much as any other production, takes place in the context of human interaction -with others,with nature,with tools,with artifacts,and with ideas from times passed. Artistic work, more than any other, is probably a projection of the experiential structure of the actof producing artifacts (orevents)with qualitiessocially acknowledged as artistic and values culturally celebrated as aesthetic. Throughout history, the patterns of human interaction have continuously changed, and so has art. Nonetheless,changeslike the oneswe experience today are unprecedented, requiring that we understand that the condition of art is probably more dependent than ever on the condition of humanity in general, and of science and technologyin particular. The age of information processing implies networking and interactivity. In a broad sense, this age can be understood as one of a generalized electronic medium against whose background digital and nondigital activities take place. It is not that, in the age of information processing, traditionor tradition-rootedformsof human practicecease; they are complemented by new forms, some impractical or even impossible in previous paradigms of thinking and creating.Two lines-one of continuitythat establishesitself as an implicit reference and another of uncompromising revolution/radical change4ould represent the topology of the space of artistic or scientificexploration as it results from the integration of the information-processingparadigm and the computer associated with it in our culture. These two linesfollow various directions,which sometimes meet, run in parallel directions, and at some time diverge. I am suggestingthisvisualrepresentation tomakeclearfrom the outset that the process is not of exclusion, but of diversification. This said, it is time to examine what we address as computer art and to tryto understand why,despite expectations (some very high) and tedious work, despite major investment (easily approaching the billion dollar mark and exceeding any other investmentmade in art),and despite enthusiasm ,the resultshavebeen rather minor.Thisjudgment can be questioned and contradicted, unless and until the perspective from which it isjustified is defined. Indeed, if we includein our notion of computer art computer graphics in general, modeling, desktop publishing, simulation, image processing, and animation, aswell as sound and image synthesis(Ihave not mentioned everythingthat might qualIfy ), the argument of economicsuccess,noveltyand cultural impactwill be impossibleto refute. Moreover, the invisible participation of the computer in photography, film, video, music and graphic design technologieswill definitely challenge the notion that the results achieved are minor. This is where the two lines of development-tradition and 01989ISAS1 renewal-meet. New technologies are integrated into established forms of artistic practice and make possible a rationalizationof previouswork and a wider dissemination through channels of mass communication. The photographic camera controlled by a chip achieveswhat Eastman made the program of his house. Computer-supported graphic design, especially typesetting, has introduced means of increased productivity, quality control and variation unknown before. Nevertheless, once these and other examples are acknowledged, a feeling of dissatisfaction lingers. Computer-generated art and electronic music are interesting,and someworks are provocativein their novelty. But oncewe have seenacomputer graphicimageorlistened to a computer-generated piece of music, it seems that we have seen and heard them all. In animation, after an initial period of surprise and hope, we now know that not much progress has been made from the first flying logos to the most recent (and ridiculous) flying flame of the NBG televisedOlympics,although technologyhas matured quite a bit and we have accumulated more than a fair share of experience . As opposed to works of art that look better the more we look at them, electronic art seemsto exhaust itself at the first encounter. These critical remarks describing the current state of computer art would not be more than an expression of dis appointment and even subjectiveevaluationwere it not for the need they trigger to go beyond theseweaknessesand to approach basic issuesastheypertain to the new aestheticexperience with the computer. These include the following: 1.the relation between a traditionalnotion of art and the emergent aestheticsof new forms of artistic practice 2. the relation between explanatorymodelsof art and the generative power of explanations 3. the relation between technology and art, with special emphasison digital technology 4.the relevance of an aesthetic consciousnessfor diversified artistic practice...