Darele Bisquerra

doctorate in fine arts

1. description of topic

In art, the process of translating a concept/idea into physical analog or electronic digital media generates a change in meaning (for the artist).

Creating art in the physical, analog realm is an intimate, sensual act. It involves touch, spiritual confrontation and a drain on the psyche and soul. The feel of the charcoal, the glide of the paintbrush, and the lifting of the limb are inherent in the crafting of the physical art object. The artist is exuding tender feeling, utilizing skill, optically measuring and cognitively reassessing the intended idea versus the mediated result in the ongoing act of creation.

In the electronic digital realm, the process is similar, but not the same. The use of computer-aided, electronic tools that attempt to simulate the artmaking experience, instead, modify it. Simulation of the process causes a third level of interpretation to enter the creative loop. In the artist’s mind, an idea moves from abstract concept to an imagined physical intention, then is translated into the physics of pixels.

The sense of touch moves from handheld brush in colorful dust and scented liquid on a rough surface to a plastic pen on a smooth polymer grid on a light-emitting diode screen.

The concept, execution and feedback change through the crafting of the facsimile. Light replaces pigment, additive color replaces subtractive color and the virtual substitutes for the tactile.

Therefore, the original concept changes when the transubstantiation is into physical media compared to digital media. And, the experience of translation or “transvisuation” into either or both media changes the meaning of the concept, the process and the resultant art (for the artist).

2. background

Discuss the starting points for this research (authors, artists and projects you consider useful and successful and others that you consider improvable)

Try to find projects/authors/artists who addressed this point, yet highlighting what is missing in their approach.

Rama Hoetzlein, PhD, an artist/engineer/professor at University of California, Santa Barbara, creates digital hybrids between art and science. He aims to “develop new paradigms for imagination and creativity in media arts.”

In my view, there is a coolness, a lack of attachment to the process or product. Hoetzlein’s art reads as science experiment without soul, with less than human character. He focuses more on the digital realms of possibility than the translation of personal theme from one medium to another.

Terry Smith, PhD, Andrew W. Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh, writes in What is Contemporary Art? “…the concept of the contemporary… signifies multiple ways of being in, with, and out of, time, separately and at once, with others, and without them.”

I believe it relevant to define the ‘contemporary in art’ to situate the multiple issues of being, in time, with or without others, in context of this 21st century. However, the broadness of the view of creativity within large scale culture falls short of helping the singular artist wrestle with the actual issues inherent in making art during this epoch.

Donald Kuspit, a professor of art history, SUNY Stony Brook; Cornell University, writes of painting as ‘a matrix of sensations.’ In his article in Artnet, he reminds us that “The work of Kandinsky and Malevich announced the autonomy of the matrix of sensations, its existence as a realm unto itself, apart from any object representation.” As this is considered, it “led to the realization that both the representation and the object represented were visual "fabrications" or "constructions" -- grand illusions.”

Although addressing the sensory within artmaking, and the extraction of the content from the process and art object, Kuspit falls short in supplying the active artist with usable tactics for dealing with this schism. Art may be a ‘fabrication,’ but the ‘grand illusion’ may take many forms, each worth analysis for personal discovery in physical and digital realms.

Rhizome.org is an internet platform for an amalgamation of artists questioning the meaning of net: art and expression in the digital era, although young in age, barely knowing life without it. The term ‘born-digital’ in the mission or theme statement embodies the focus of internet art and its relationship to social construction.

Since the issues of post-digital artmaking are lively and virulent on this site, I posit that the comparison between analog and digital art making is still ripe for more investigation.

Florian Cramer, a young instructor at the Hogeschool Rotterdam triangulates definitions of terms such as ‘post-digital’ and ‘new media,’ refining meaning through contrast. In the article “What is ‘Post-Digital’?” Cramer explores current motivations for art making as ‘hybrids of ‘old’ and ‘new,’ such as in the classes of Kenneth Goldsmith, who notes that his students “mix oil paint while Photoshopping and scour flea markets for vintage vinyl while listening to their iPods.”

As this line of investigation may provide context for art making or creative endeavors in the post-internet condition, there is the detached observer sensibility within the writings of even the artist-researchers in the APRJA, the peer-reviewed journal of post-digital issues published out of DARC (Digital Aesthetics Research Centre), Aarhus University, Denmark. The examination of concepts here touches upon the aesthetics of each, yet does not delve deeply. There is room for expansion based on praxis and reflective feedback.

EH Gombrich in his book “Moment and Movement in Art” looks into the “underlying distinction between the art of time and space, of succession and simultaneity, remaining unquestioned in aesthetics (in Romanticism).”

Each creative genre is considered within its context. To think about the meanings of succession and simultaneity within current choices for idea expression using natural and electronic media would yield a new perspective from the early millenium.

Omar Kholeif, in his book, “Goodbye, World! Looking at Art in the Digital Age” focuses on a cultural and artistic landscape… that aims to “put into context a new language for seeing, feeling, and being that has emerged through post-millennial technologies, and argues for a nuanced understanding of the post-digital condition.”

To define terms in a current context helps us discuss in common language. As Kholeif begins to unravel the chaos of current digital being, there is room for amplification, clarification and refinement of terms through experiential expressive work.

Isabelle Graw ponders within her book, The Love of Painting, that an artist’s presence is embodied within the artwork, and so there is a “highly personalized semiotic activity” that permeates the work, transcending the original medium, be it paint, pixels or a serigraphic print.

As she is writing from an overview of theory, and not through practice, her theories would benefit from the actualization of artisan experiments.

Suzanne Hudson, critic and art historian, In Painting Now, refuses to allow painting to be swept aside in the contemporary artscape. She suggests that painting “becomes more possible after [the advent of] conceptual art — when the idea comes first and then you have to figure out what to do with that idea in material form. There was no reason why painting couldn’t be a form with which to manifest ideas, and through which to bring them into being.”

The crux of manifesting ideas, rather than only focusing on media in painting, is a component of exploration that is valid, addressing the value of the experience and offering. To take this a step further, one might examine the difference in manifesting ideas using digital and other media.

3. statement of the problem(s)

Describe here why the current models/projects/studies are lacking or do not work.

The translation of concept or idea through various media may create a change in perception, meaning, or value.

In the past, artists used physical media to express personal ideas (and designers utilized electronic computation to solve others’ problems).

Now, natural and digital/electronic media produce new hybrids worth consideration in (both) personal expression (and commercial solutions).

Current studies are not complete as digital transformation issues are only 30 years new. The ever-evolving, quick and simultaneous change of tool use for fine artists or solution-oriented designers generates many new scenarios and crossovers, which, in turn, suggest valid inquiries.

Questions are still emerging regarding ideation, process, product and perception in the fine arts and the novel hybrids that are appearing.

4. purpose of the study 

Why is this study important and relevant now? Why is it worth studying?

Art entities

The study of change in meaning between physical and digital media use is relevant now because of the technological interactions underway in art and communication around the globe.

• Humans have created art, craft and 3D artifacts through the expression of ideas and for functional use for thousands of years.

• Adoption of virtual or digital media to convey ideas changes the process and the resultant message and output.

• Perceiving of ideas and creative works by the viewer/receiver also changes in manner and method.

• Exploring criteria for value, on what might be precious, wondrous, or worthless, helps us navigate this new terrain.

• Questions involving the role of simulations, facsimiles, and defining reality also emerge.

• Psychology and spiritual dynamics involved in creation are mysterious and ripe for ponder.

• Earthen pigments, whether ochres, umbres or siennas, interact roughly or smoothly with the texture of the paper or canvas.

• Electronic media synthesizes interactions of dry or wet media with virtual substrates, creating representations, or simulacra.

• Pigment, paint or clay present a physical struggle for the artist; the challenge is embodied between intention and result.

• Digital media creation benefits from the undo button and temporal layering, affecting the artists' mood through ease of use.

5. aims and objectives

Aims:

In this project, I hope to put enthusiastic attention to neglected creativity.

I aim to question notions of self through creating art, and to explore creativity that has been maintained, yet suppressed, for many years.

I would like to peel away the layers of art-making to reveal some humble honesty in the approach, the process and the produce.

I would like to investigate topics of interest* in art, music, design and language, while creating new hybrids in natural and digital media and linkage between subject matters.

*See Topics of interest list addendum.

Objectives:

In order to explore notions of self in the context of creativity and media use, I will initiate an open-ended approach to allow for surprise and associative action in the use of media, sound and language. I intend to see, form and compose:

IMAGES : WORDS : SOUNDS > MYSELF + OTHERS

IMAGES

Draw, use pastels and paint studies of botany, zoology and the anatomy of human figures

Invent still and moving hybrids of the drawings, paintings, photographs and words using digital media

Deconstruct and re-edit portions of media to construct new meanings

WORDS

Harvest content from poems, lyrics, diaries and journals

Treat type as visual graphics by changing style, scale, transparency and overlays

Design soundscapes and spoken narratives from original words, music and sound effects

SOUNDS

Compose music for voice/guitar for solo performance and for multi-instrument groups

Focus on innovations in melody, harmony and improvisational music

Re-purpose original music compositions as written scores to accompany visuals

Combine music, costumes and visuals for use by community cultural groups

WITHIN

Examine dichotomies within my cultural and technical background

Question my tendency to create dyads of figures and objects

SELF

Encourage authentic reflection of my creative process

Keep journals and diaries of endeavors so as to reinterpret revelations

OTHERS

Gather others' impressions of my work through interviews and feedback

Connect unlikely creative actors as they share in the execution of creative vision

6. research questions

Art I am interested in exploring natural media such as charcoal and pastel drawing and painting.

I am anticipating the molding and enhancement of written words, spoken languages and soundscapes.

Within these endeavors, I enjoy formal analysis such as graphical grammar, visual syntax, sensory form, and perceptive flow.

Music I am also interested in enlivening musical compositions and joining them with visual works.

Within this effort, modes of art, music, design and language are immeasurably considered in terms of syntax, form and flow.

Hybrids As I intend to combine the content and the forms of these creations in new ways, there will also be questions about meaning.

Therefore, I find the common thread to be the pondering of the transformations in meaning, perception and interpretation that occur when changing from original idea to natural materials and to digital media

(and back again . . .)

7. contribution to knowledge

What is this work adding to the world knowledge?

Hybridization bridges use of tools and media to form new paths to creativity, processes and products.

There are questions surrounding the ‘wonder factor’ regarding the creative move from idea to substance.

There is value in considering the hesitation, tension and misunderstanding embedded within the move from physical substance art to digital media art.

What is inside the 'in-between, the uncountable, the non-quantifiable, the immeasurable, the synapse gap, the chasm, the incomprehensible and the ultimately undefinable' mystery of creativity as it moves into various realms of expression?

And then, how might this change from raw idea to substance launch ways to consider the changes from traditional to digital media?

More and more of the world’s people will have access to the internet as connectivity improves world wide.

Each region will maneuver in its own unique way as it navigates the move from natural to digital existence. The range of emotions, from despair, to frustration, to jubilation are part of the processing of choosing media to express any idea, and whether that idea is in its best form for comprehension. To take apart, disassemble and reflect upon the initial act of creation and then the secondary process of natural/digital media transformation can offer starting points for others to explore in the future.

8. who can benefit from this work?

Those who have not seen, yet want to see, their natural media work as potential for harvest may benefit from this inquiry. Creating open-ended hybrids frames art, creativity and digital tool use as material for transformation, rather than as end points in themselves.

9. who will be using your discoveries?

Those who:

• Create, teach or write about art in the 21st century would utilize these discoveries

• Wonder about improving content delivery for various learning styles

• Meditate on expanding our notions of material, form, and motion through natural and digital processes

• Value sensory perception, (visual, auditory, olfactory, gustatory and somatic), in comprehension of ideas

• See art-making as process and who are inspired to transform their own works through digital means

• Contemplate narrative in crafting message while considering appropriate media choices for conveying story

• Think about the source of language, code and structure within us as we express our ideas

• Esteem combines, hybrids and multi-layered works, perceiving their kinetic potential to carry message

10. methodology

How do you want to elaborate this study?

This study will be elaborated through personal practice (praxis).

• Investigation of media, methods, meaning will happen by creation of new art work.

• Written reflection on media use and procedural challenges within process will be expressed.

• Translation of tangible, touchable 2 dimensional art will occur through the digitization and electronic manipulation of original visuals.

• Layering of still images will be primary. Adding motion editing will be secondary; sound will be tertiary.

• Journals will be filled with reflections and revelations on process, impression, memory and internal change.

• Imagination, theorizing and actualization of ideas may result in:

  trans-visual-sonic-lingual-re-form-a-tion

How will you find the data to respond to your research questions?

• Data will be generated through creation of new work and reflection on that work.

• Research of past and contemporary artists' practice will generate sources for comparison and contemplation.

• Reflection on theories of creativity, structure and transformation will enhance learning.

• Interviews of other visual artists, musicians and peer motion media makers would generate thought and reaction for revisions.

11. timeline

Describe here what will happen in each year with milestones

Year 1: Following the seminars offered in the program to tease out and test my intentions and research direction

Year 2: Establishing art, music and language projects while beginning to write the dissertation document

Year 3: Continuing to complete works, write the document, reflect on direction and revise as needed

12. dissemination and publication plan

Exhibitions: Solo shows to focus on new works-in-progress

Exhibitions: Group shows with others whose research and praxis is similar

Concerts: New compositions, performed by self

Concerts: New compositions, performed by others

Teaching: Seminars, public speaking, sharing about the processes of creating hybrids

Symposiums: Collaborative creation, combining artists, musicians, percussionists with visuals

Gatherings: Exchange of ideas, combining musicians, speakers, writers, composers for discussion

Online: Posting of digital art work-in-progress on social media platforms

Online: Populating content in personal website-in-progress

references, initial