Times are changing, technologies are advancing rapidly, and along with that, art forms and methods of expression are evolving. This year, annual photo exhibitions seem to be gaining new momentum and facing a new challenge, succinctly described by the term "art and new technologies." "Computer graphics" is now attracting the attention of photographers, designers, advertising professionals, representatives of traditional arts, and even those who were once mere "art consumers."
The presented works are, from a technical standpoint, more or less in a similar position, utilizing the most popular visual applications. However, the diversity of results and differences clearly indicate that the computer is just a tool for a creative mind. Indeed, the computer has posed challenges to art theory—it has become a sophisticated tool, integrating various aspects of human activity, both creative and non-creative. It does not adhere to established norms of the "materialization of the creative act" and fundamentally challenges traditional concepts like "originality," "copy," "circulation," and so forth. Nevertheless, there is no denying that it is an excellent tool for realizing subjective creative ambitions.
Some artists remain loyal to the tradition of "photographic thinking," emphasizing individual self-expression over illusory or superrealism. It's not surprising that most photographers, either individually or in collaboration with designers, present their work within this group. These creations embody solid three-dimensional plastics, featuring color ranges and compositions formed from authentic, non-digital photo library fragments. The montage connection underscores an associative rather than a narrative beginning, invoking the poetic and symbolic traditions of Lithuanian photo art. In doing so, they remain true to their artistic spirit.
Artists who are not primarily adherents of the aesthetics of photographic documentation approach "reality" in an intriguing way. They base their work on the idea of virtual reality, creating a certain two-dimensional version of it. By shaping the model of an illusory "correct" space, they employ methods of visual provocation and stylistic association, turning the act of perceiving the work into an intellectual game.
In essence, the computer not only expands the arsenal of means of expression but also reshapes our mindset and, concurrently, the creative process itself. When we sit down in front of the monitor, we must abandon illusions of a lively, spontaneous, unrestricted creative act. The computer is simply a qualitatively new work tool demanding more knowledge and experience than its predecessors. Its novelty lies not only in empirical technological findings but also in the possibility (or necessity?) to model the creative process itself. One can evaluate not only the final result and means of expression but also the path that the author "invented" to achieve the goal. Consequently, the freedom of choice unexpectedly expands infinitely, prompting the pertinent question: What do you want to do, what do you want to achieve, and in the name of what?
Some artists, in their quest for a specific language of computer graphics, leverage the characteristics of information flow—a short, superficial message limited to a date, a few facts; an avalanche of informative messages in a short space of time; bright, flashy advertising inserts; often senseless visual flashes, constant shifting, running, moving...
Another approach is to fully embrace the whims of chance and, without prolonged deliberation, surrender to the transformation of the digital micro-world. It's as if by "feeding" a photo image into a paper shredder, one can obtain its most unexpected structural configurations. Countless other methods exist—one involves inserting "your" piece of matter into already functioning formulas and observing how new forms emerge from the textures. Or boldly deforming the score, giving it new meanings and symbolic accents. The possibilities are a hundredfold more numerous than the keys on a keyboard.
Camera and the advent of the first digital "boxes" represent two major revolutions in the history of human visual culture. The first "spoke" metaphysically, the second—the dialect of digital processes. However, both were born and initially evaluated in the "category of technical innovations." Photography, emerging playfully with a certain element of trickery, demonstrated a "realistic and non-deceptive" way of recreating reality. Today, computer graphics behaves similarly—by accentuating the playful, experimental character of its activity, it appears to safeguard itself against unexpected failures. Despite the "youth syndrome," today we witness a rather extensive, diverse, and fascinating spectrum of creative features, testifying to the creativity and effectiveness of artists and photographers.
Generative art, as a contemporary manifestation of the evolving creative culture, introduces a distinctive dimension to this narrative. It explores the intersection of computation, algorithms, and artistic intent, offering artists a dynamic canvas to experiment with automated processes and chance encounters. The generative artist becomes a co-creator with the machine, navigating the unpredictable outcomes of algorithmic expressions. This emergent form not only expands the boundaries of artistic exploration but also challenges traditional notions of authorship and control.
In the evolving tapestry of artistic expression, generative art intertwines with traditional and digital mediums, creating a fusion that blurs the lines between the tangible and the virtual. The artist becomes an orchestrator of algorithms, directing the flow of code to shape unique visual experiences. This transformative approach not only pushes the limits of creativity but also beckons a reevaluation of the artistic journey itself.
As we navigate the evolving landscape of art and technology, embracing the symbiotic relationship between human creativity and computational prowess, we witness a metamorphosis that transcends conventional artistic paradigms. The fusion of traditional techniques, digital tools, and generative processes heralds a new era—one where the boundaries of imagination are stretched, and the language of art continues to evolve in tandem with technological advancements.
In summary, the confluence of art and new technologies, including the dynamic realm of generative art, paints a vibrant picture of the contemporary creative landscape. The artists of today, armed with a diverse array of tools and methodologies, navigate this ever-changing terrain with curiosity, innovation, and a willingness to embrace the unexpected.
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