Art, Games, and Technology Research

The primary thesis of “Graphics: Effects of Origins” by Beverly Jones is, the “hope to establish the relation of specific image, object, event or environment to conceptual frames.  These frames exist within art and technology and are present in other forms of symbolic and material culture.” (21 Jones) Also, her thesis is how past art patterns influence the evolution of the formation of computer graphics, and how computer graphics and current art combines to influence the history and cultural bases of computer graphics.  In addition, the change of the modern art not only merge into our life quickly, but also become a factor to shape and re-construct our life pattern and cultural background. Just as Jones stated, “These changes contribute to maintenance and change of culturally conditioned conceptual patterns in the larger historical context” (Jones, 51).

One historical example of Jones provided about her thesis is that the common feature of new inventions always sticking with the previous principles. One of the examples about ancient Egyptian architecture shows how the old way/mode of art gives birth to the new ones. It is not accurate to say the newly crafted arts are derived from the old, but confined or instructed by the previous ones. As Jones (1990) states: these changes contribute to maintenance and change of culturally conditioned conceptual patterns in the larger historical context. (pp. 51) Also from this point of hers, Jones asserts that some old modes or understandings should be preserved because the law of physics and other principles are never changed.

I think the most compelling and accurate illustration of Jones’ thesis at work in current culture is from energy basis and use high-technology to present art in a diverse  forms rather than using traditional art form. Previously, the art project can only be expressed in paper, sculpture form, and the raw materials are always derived from oil. Thus, traditional art work may increase the dependence on our un-renewable energy resources. I found an interesting example of modern art that has the similar meaning as Jones’ thesis, which is computer animation. “The image is created by means of 3D computer graphics, though 2D computer graphics are still widely used for low bandwidth and faster real-time rendering needs (Science Daily). This technique is identical to how the illusion of movement is achieved with television and motion pictures. Currently, computer animation is essentially another form of art works in today’r culture.It follows the energy consideration of traditional art, also it can produce more mobile and vivid aspects into art project, and bring audience a new version of art world.

 Computer Animation. Science Daily.2013  http://www.sciencedaily.com/articles/c/computer_animation.htm

Jones, B. J. (1990). Computer Graphics: Effects of Origins. LEONARDO: Digital Image –Digital Cinema Supplemental Issue, pp. 21-30.

 

 

 

Art, Games, and Tech Discussion

For discussion this week, I wanted to bring up some things that I found interesting when reading BJ Jones’ passage about the origins of the digital age in art. What really stood out to me what a statement he made on page 56, saying,  “Image-processed digital photography exists in mass-media publishing, television news, and as photographic evidence in court cases”. Along with this, what intrigued me about this quote was that now, technology has caused digit photos to be the norm when it comes to sharing with other individuals.  Nearly every major technological device that is handheld has a color screen with the ability to view images.  When the reading by Jones was published, I learned how the people before us have seen new technologies like computers in their horizon.  I think some of Jones’ predictions and expectations have turned out to be true but I’d imagine he would have never imagined seeing technology evolve to the point that it’s at today. It’s truly remarkable.

 

Jones, B. J. (1990). Computer Graphics: Effects of Origins. LEONARDO: Digital Image – Digital Cinema Supplemental Issue, pp. 21-30.