The Glitch Between Art & Technology 🖼

I.

Today, technology’s dominant role in society is indisputable. From mobile phones and online dating, to virtual education and computer- based security systems, human dependence on technology has deep-rooted itself in society. As technological inventions prove to stand tests of time and utility,  the application of technology --its essential integration of the arts and sciences-- is encouraged more than ever. The fusion of technology and art can be seen in everything around us; however, the use of technology in art manifests itself as a new field of interdisciplinary study. Technology is the new medium; a medium so malleable and infinite, that it is used to achieve a supernatural dimension of experience.

II.

The impacts of previous technological advancements in design can be seen through works from various art historical movements such as Dadaism, Russian Constructivism, and the Art Deco Movement. Artists from these movements explored and incorporated technology through photography and photomontage, new uses of the printing press, and direct inspiration from inventions such as railways and steamship lines. Unlike these historical examples, however, design in contemporary culture is not merely influenced by technology-- it is completely transformed. The end twentieth century and the beginning of the twenty-first experiences a Digital Revolution in design, while visual communication is wholly reconstructed with the “medium of digitality” (Giselle).

III.

As we move towards the second decade of the new millennium, artists and designers who were once novices of the medium are evolving into experts and artisans. Technology has become the “next-level” of design, attracting more prospective clients than before. Some designers such as Japanese artist Yayoi Kusama, use technology in their studies of medium exploration. Yayoi Kusama’s “Infinity Mirrored Room—Filled with the Brilliance of Life,” currently installed at the Broad Museum, is a mirrored room surrounded by a canvas painting. The myriad of tiny LED lights installed on a canvas give the illusion of stars and lights, the ground and the sky, infinite space: “Kusama has consistently explored the play of infinite repetition within infinite space, creating a continuity of images without beginning, middle, or end” (Kalter-Wasserman). This space allows an intrinsic and ephemeral experience for the viewer. He or she faces the mirror and recognizes one’s existence among infinity. The technology used in the work adds another dimension to the visual experience. The tiny LED lights shift viewing perspective while mimicking a view outside a plane window.

IV.

Technology as a medium is not only explored in the visual arts, but in the performing arts as well. Electronic music of any kind (e.g. house, dubstep, trap, tropical house, trance) has always been a genre of music devoted to the use of computer-made sounds. However, the experimentation with computer-based sounds and technical machines such as synthesizers, is not only prominent in electronic music, but also (even more so) in other genres such as pop and rap. DJ’s, or disc jockeys, are multiplying as electronic music experiences a revival in mainstream culture, also accompanied by their VJ’s, “the artists that create a harmonized, visual component to further the audio performance of the DJ” (Bach).

Technology has most profoundly impacted the direct musical experience (i.e. concerts, shows, festivals, and raves) with the use of motion graphics, stage design, interactive installations, and LED design. Iconic festivals such as Coachella and Burningman are famous for the artworks chosen to be showcased annually. While spectators appreciate the art around them, a new level of experience is truly achieved with the combination of auditory and visual-- a new kind of musical spectacle.
 

V.

Creative agencies and design studios are also shapeshifting to accommodate this quasi-artistic trend as it calls for more, somewhat intangible art in virtual reality rather than tangible work with traditional materials. Visual communication is redefined through technology as “designers are no longer designing a one-way communication...we are designing a two-way interactive dialogue between a person and a technology-- we are literally facilitating the relationship between man and machine” (Giselle). Creative firms such as The Meta Agency, Invisible Light Network, and Electronic Creatives are pioneers in new communication as well as expert communicators of technology, shown through the immense success of past projects as well as a loyal and expanding client base.

All three of the companies mentioned above were constituents in the production of Porter Robinson’s most recent album tour, Worlds. Working as a collaborative team with the client’s proposal in mind, the end result presented itself in a colorful music video of Robinson’s imaginary, “glitchy surrealistic” world (Pangburn). The Meta Agency’s alma is:
     “[to] inspire changes in human behavior by combining intelligent ideas, beautiful artistry, spirited music, interactive technology, trending fashion, engaging virtual reality, and unforgettable spectacles. We specialize in the Art of Being There.”
The goal: to create a completely immersive,  multi-sensory production, one that is dynamic in nature and (the experience) subjective to individuals.
Robinson’s show in particular, was dedicated to different worlds and “escapism,” drawing inspiration from virtual games, iconic Japanese art, and the soundtrack of the visuals (upbeat tracks with unique layers and lyrics).
 

VI.

Technology as a tool has brought us closer to our imaginations and the impossible. It can allow the creation of an entire illusion (Worlds) or serve as an indirect reminder of reality (Infinity Room), making the unreal real, or the real, unreal. Technology has also fostered a global network of interconnectivity, allowing users to literally connect with one another through the touch of a button. Individualism in today’s culture is highly encouraged and pressured because of this availability of information: everyone starts with a generic “profile” with the ultimate task of mimicking - or recreating - one's reality (friends, family, personality, etc.) into a virtual, simulated one.

Yet, a socio-cultural revival of humanism is apparent, which can be seen through the increase in quality of life. The celebration of man and woman is done every day, every second, as the dependency on human-made inventions (technology) exponentially increases. Through technological advancements, the upgrade of art and design, and the deemphasis of natural and visual realism, a rise in the importance of craft, form and function can be seen. Most importantly, it has created a truly unique interdisciplinary focus between the arts and sciences. Technology has the power to fuse the world of design together, the world composed of thinkers, artists, engineers, teachers, mathematicians, graphic designers, students, and all in all, creators.

References

Bach, Nastasia. “Top 10 VJs in Underground Electronic Music.” DJBroadcast. Blueprint Media, 7  Oct 2015.Web. 5 Dec 2015.

Davis, Meredith. Graphic Design Theory. London: Thames & Hudson, 2012.

Giselle, Eva. “The Digital Revolution of Design.” The Loop. The Loop Media, 5 Jun 2013. Web. 5    Dec 2015.

Kalter-Wasserman, Sasha. “From Zero to Infinity: Yayoi Kusama at the Guggenheim.” Guggenheim. The Solomon R. Guggenheim, 5 Jan 2015. Web. 2 Nov 2015.   <http://blogs.guggenheim.org/>.

Meggs, Philip B, Alston W. Purvis, and Philip B. Meggs. Meggs' History of Graphic

Design. Hoboken, N.J: J. Wiley & Sons, 2006. Print.

Pangburn, DJ. “An Inside Look at Porter Robinson’s Electrifying ‘Worlds’ Tour Visuals.” The  Creators Project. Vice, 24 Sep 2014. Web. 5 Dec 2015.

“Porter Robinson ‘Worlds’ Tour Visuals.” META. The Meta Agency, 2015. Web. 5 Dec 2015.

“The History of MTV.” TimetoToast. Time to Toast, 2015. Web. 5 Dec 2015.