By Elizabeth Swanstrom
In Animal, Vegetable, Digital, Elizabeth Swanstrom makes a convinced and lively argument for using electronic artwork in aid of ameliorating human engagement with the surroundings and indicates a four-part framework for interpreting and discussing such applications.
via shut readings of a panoply of texts, works of art, and cultural artifacts, Swanstrom demonstrates that the department pop culture has for many years saw among nature and expertise is synthetic. not just is electronic know-how now not inevitably a brick within the street to a dystopian way forward for environmental catastrophe, yet electronic artwork kinds could be a revivifying bridge that returns humans to a extra quick courting to nature in addition to their very own embodied selves.
to research and comprehend the intersection of electronic paintings and nature, Animal, Vegetable, Digital explores 4 aesthetic strategies: coding, collapsing, corresponding, and holding. “Coding” denotes the best way artists use operational computing device code to blur differences among the reader and textual content, and, therefore, the area. Inviting a fluid belief of the boundary among human and know-how, “collapsing” voids simplistic assumptions in regards to the human body’s innate perimeter. the method of translation among ordinary and human-readable indicators that permits communique is defined as “corresponding.” “Conserving” is the appliance of electronic paintings by means of artists to democratize huge- and small-scale renovation efforts.
a desirable synthesis of literary feedback, communications and journalism, technological know-how and know-how, and rhetoric that attracts on such disparate phenomena as simulated environments, games, and pop culture, Animal, Vegetable, Digital posits that partnerships among electronic aesthetics and environmental feedback are attainable that reconnect humankind to nature and reaffirm its kinship with different dwelling and nonliving things.
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Additional info for Animal, vegetable, digital : experiments in new media aesthetics and environmental poetics
By this I don’t mean awareness specific to one political ideology or another, but rather to an awareness of the stakes of these confusing, competing, and of ten contradictory ideologies. One of the most important objectives that eco critical discourse shares with object-oriented ontology is its desire to question (if not extirpate) the notion of human exceptionalism, the pernicious yet persistent belief that humans have dominion over nature. Here, in Os mose, the immersant does not stand apart from or above the world.
An example that highlights the expressive potential of natural agents is the story of King Midas’ servant. This servant, who cannot keep the secret that his master has the ears of an ass, needs to unburden himself of this information and whispers the scandalous details into a hole in the ground. . 172–193). The reeds in this story are illustrative of a larger tendency that permeates literature. In virtually every world religion and literary tradition, features of the natural landscape—the soil, the stones, the rivers, the trees, and the various creatures that reside within them—are imbued with powerful, often divine, agency.
Corresponding refers to the process of translation between natural and human-readable signs that enables communication. And conserving is the way that digital art and artists aim to democratize conservation efforts on large and small scales of intervention. Laar’s Call me! employs all of these techniques. Like many works of art that focus on climate change, global warming, and imperiled ecosystems, it delivers its message forcefully. It is an important message, to be sure, and the project as a whole clearly highlights the environmental stakes.
Animal, vegetable, digital : experiments in new media aesthetics and environmental poetics by Elizabeth Swanstrom